Textile to Concept Model

From my photo inspiration of the King Street Train Station to my series of modules and patterns, and final textile design, the key concept of linearity, movement, and connections have been incorporated into all processes and executions. These concepts were also applied to develop my concept model.

I used my textile design to create the concept model. The intersecting lines and the weblike patterns it created stood out to me the most. It continuously carries your eyes throughout the whole textile design, much like the movement of trains; constantly moving as a result of industrialism and the need for people to keep moving. These intersecting lines are like the intersecting paths of a train, as well as the networking that it enables; trains bringing people together and connecting like the weblike patterns of the textile.

I selected a section of the textile to focus on and develop into a three-dimensional concept. The first shape and form I envisioned in the textile was a pyramid. Next I noticed the glowing webs, a result of the color selection and technique. I then built a pyramid with a square base to serve as its framework. A pushpin was used to make holes in the framework, and silver wire was sewn into these holes to recreate the linear patterns of the textile design. The framework symbolizes the train that enables for to connect, and the sewn silver wire represents the network or people

INSPIRATION

photographed by Edward Bello

TEXTILE

CONCEPT STUDY MODEL

CONCEPT MODEL

Pattern to Textile

To develop this textile I first abstracted my photo inspiration, the King Street Train Station, and sketched a series of modules. From those modules I picked out two that really expressed my concept of connections, interactions and movement, and then created a series of patterns. By mirroring and rotating the modules, the negative space and the lines and shapes of the module produce a web like design that guides the eyes throughout the whole textile design.

The colors are inspired by a piece of the client’s art, Inversion Without End #7. The piece has an analogous color scheme of greens, blues, and yellows. The surrounding space becomes deeper and darker in color. Tints of blue-green and yellow were applied to the textile design. The adjustments and the coloring of the parti avoid straight lines and solid colors to create a more organic textile pattern. Like the glowing center of the painting, the lines in the textile seem to glow.

INSPIRATION

photographed by Edward Bello

MODULE

COLOR INSPIRATION

Inversion Without End #7

Joe Shlichta

2004

oil on panel

36" x 48"

MODULES

PATTERN

TEXTILE

Modules to Patterns

PATTERN I

The module I chose to explore first is my favorite. It has a very interesting composition and a strong contrast between light and dark. To create patterns in InDesign, I first tiled the module, then tried rotating, and then rotating and mirroring. I created six patterns total. It was really interesting seeing the pattern evolve to the last pattern, the pattern that I decided to use.

GRAYSCALE

MONOCHROMATIC

ANALOGOUS

PATTERN II

With this second module I wanted to capture the vertical and horizontal movement in the photo; the movement of train and the towering skyscrapers. I never thought I would use this module because I thought it was so literal, but since it was really different from my other modules I wanted to see what I could create with it. It turned out pretty good.

GRAYSCALE

ANALOGOUS

COMPLIMENTARY

COLOR INSPIRATION

I applied colors inspired from the work of Joe Slichta.

Traveling from wind to light (2008)

oil on linen, 60" x 90"

Waiting under the stars (2008)

oil on panel, 48" x 24"

Bound in a precarious truce (2006)

oil on panel, 36" x 48"

Abstractions to Modules

INSPIRATION

A few months ago a friend of mine, Edward Bello, showed me a photo he shot of the King Street Train Station in Seattle, WA. I instantly fell in love with the photo. When we were required to pick an inspiration that included trains for our semester project, I thought of this photo.

The contrast between the modern skyscrapers and the historical train station suited and expressed our semester project very well; the adaptive reuse and historical preservation of the Pullman, WA Pufferbelly Depot.

PARTIS

After analyzing the photo as a whole and also focusing on certain aspects of the photo I sketched 50 parti sketches that expressed vertical and horizontal movement, linearity, contrasts between light and dark, connections and interaction, and layering. There are a lot of different elements in the photo I was able to produce a good variety of sketches. I decided to use neutral colors since the photo was taken in black and white.

Studio Design

Visited a local artist who just recently designed and constructed her own studio. Took note of what we needed to consider when designing a space for an artist.

WORK SPACE

Adequate work surface

• May be working on multiple pieces at one time

Space for special equipment

Drying area

Bin to deposit waste

Easy to clean studio

STORAGE

Supplies

• Does client want to be able to see all supplies?
• What kind of storage does the client want and need?

Space for finished pieces

LIGHTING

Big windows for medias that can withstand sunlight

Emphasize paintings on showcase

Adequate lighting to be able to see work

White artificial lighting that will not affect colors on pieces

Museum Design

We visited the Washington State University Art Museum. The curator spoke to us about the pieces and interior design of the museum.

CIRCULATION

Interior designers determine the direction and flow of circulation.

• This can be accomplished by placing dividers or walls that guide people to go a certain direction. Art pieces could also be used as a focal point that encourages people to walk around the museum.

LIGHTING

Important to emphasize and showcase pieces.

VERSATILITY

Museum should be flexible to accommodate different exhibitions and pieces.

Every exhibition is designed differently.

POSITIONING

Positioning of art pieces important, especially large three-dimensional pieces that can influence circulation.

Vision Disability Workshop

For this workshop we were required to walk around the Compton Union Building on the Washington State campus wearing vaseline coated sunglasses and take note of what did and didn't work for the visually impaired. It made me notice a lot of the small design details I've never noticed before.

STAIRS

Steps on stairs should be clearly marked.

• I almost fell off the last step because I thought there was another step. I could easily walk down the atrium stairs in the library because the black grip tap against the white tiles emphasized the edge of each step.
  

ELEVATORS

Braille was positioned on each side of elevators.

Automated voice announced levels and direction of elevators.

ATM MACHINE

Card slot was easily found because of flashing light.

Headphone outlet should be clearly marked

• Voice in the audio system should be more pleasant and not so robotic. It would be irritating to have to listen to a robotic voice each time I needed to use a ATM machine.

BATHROOMS

The location of the braille signs were not consistent.