The fabric brand we’ve decided to look at this week is Scion. Here is their design ethos: “creating cutting-edge, accessibly priced and forward looking printed fabrics.” Their designs are usually bright, bold and fun. Some of them are a little more traditional, some are a little childish and the rest are just the perfect statement for a room.
There are a lot of fabrics within this design house and they all come under different collections. For this blog we’ve chosen one fabric design and colour way from each of the collections. For the purpose of this post we haven’t looked at the ten collections of plain fabrics.
The first fabric is this Lintu print from the Noukku collection. This colour way is called Gecko/Pacific/Glazier… They like to have very descriptive names for their colours! From a distance this pattern seems to be just a criss-cross of colour and shapes – it is only when you look closer that you see they are actually little birds, this is a subtly fun and charming design.
The next collection is Lohko. This fabric is called Sula in a Flamingo/Honey/Linen colour. At first I thought this pattern was a load of oddly filled wine glasses but it’s probably more likely to be tulips or some kind of abstract flower.
Now over to the fabrics aimed at children… I love them all. The collection is called Guess Who? Fabrics. The one we’ve chosen here is called In a While Crocodile! Although the Mr Fox Appliqué (a version of Mr Fox) is probably one of the best known designs from Scion.
This is Lunaria, in Cream Sunflower and Gull, from the Melinki One collection. One of the more traditional looking designs but still with the graphic print feel that Scion designs tend to have. It’s a great pattern and the grey and yellow colour way is a very popular combination at the moment.
This fabric beautifully brings in burnt orange with the very versatile blue and cream colours. This fabric is Fuse, in Tangerine/Kingfisher, found in the Rhythm Weaves collection. This fabric would be the perfect way to get needed colour into a room. It also gives a good selection of colours to extend into accessories.
This berry coloured pattern is called Shibori from the Spirit Fabrics collection. This design is quite simple and comes in some nice bright colours making it an easy fabric to get into a bright and modern room.
Finally, we’ve looked at this busy print called Blomma. This colour way is called Toffee/Blush/Putty and it is from the Levande collection. Still in keeping with the Scion block style the colours within this fabric seem to be less in your face and within a more traditional in tone.
We’ve chosen some Little Greene Company paint colours and matched them with fabrics, furniture and a few accessories. Hope you enjoy!
Hicks’ Blue and Gauze Mid
Little Greene Paint, Hicks’ Blue (208) & Gauze Mid (164) – Villa Nova Fabric, Norrland Indigo – Crumble Snuggler by Loaf at John Lewis, Brushed Cotton Flint – Ebbe Gehl for John Lewis Mira Sideboard – John Lewis Cavendish Cushion, Sulphur – John Lewis Boucle Cushion, Steel – Buster + Punch Hooked 3.0 Mix Cluster Ceiling Light, Copper/Stone
Ashes of Roses and China Clay
Little Greene Paint, Ashes of Roses (6) & China Clay (1) – Harlequin Fabric, MORAMO LINENS 132309 – Made, Frame Armchair, Blush Cotton Velvet – west elm Terrace Console Table – John Lewis Lockhart Floor Lamp, Dark Copper – John Lewis Hotel Morocco Rug, Cream – John Lewis Croft Collection Weave Cushion, Natural
Yellow Pink & French Grey
Little Greene Paint, Yellow-Pink (46) & French Grey Pale (161) – Fabric, Zoffany ILIAD 322619 – House by John Lewis Bow Upholstered Headboard Bed Frame – Fonteyn Bedside table, oak, Made.com – John Lewis Penelope Task Lamp, Quince – Design Project by John Lewis No.111 Rug, Blue – John Lewis Croft Collection Poppyheads Bedding – George Nelson Bubble Crisscross Saucer Ceiling Light, Medium – Roar + Rabbit for west elm Geo Inlay 6 Drawer Chest
Matthew Williamson Wallpaper & Pearl Colour Pale
Wallpaper, Matthew Williamson at Osbourne & Little, Tropicana W6801/01 – Little Greene Paint, Pearl Colour Pale (167) – Fabric, Villa Nova, Vardo Petrol – west elm Mid-Century Extending Dining Table – Vitra Eames DAR 43cm Armchair, Cream/Chrome – Design Project by John Lewis No.004 Sideboard, Oak – Kartell FLY Ceiling Light, White – west elm Ombre Crackle dining collection – John Lewis Flamingo, Cactus and Melon Tumbler With Gold Rim – John Lewis Scandi Nova Table Runner, Mineral – John Lewis Pineapple Placemats, Set of 2, Green/Cream
Knightsbridge & Shallows
Little Greene Paint, Knightsbridge (215) & Shallows (223) – Fabric, William Morris & CO, Pure Ceiling Embroidery Paper White – John Lewis Hemingway Bookcase With Drawer – John Lewis Annabelle Armchair, Harlequin Vitto Sediment Fabric, Price Band G, Dark Legs – John Lewis Hemingway Round Lamp Table – David Hunt Hare Table Lamp, Bronze
We visited Tate Britain for the extensive exhibition of David Hockney’s 60 years of work from the instantly recognisable to the unseen workings.
There were so many pieces in this exhibition it was hard to choose a direction for this review. So we’ve just chosen a couple of pieces that we liked and looked into how they were made.
The first piece is called ‘The Road to Thwing’ which Hockney painted in 2006. When displayed this is six smaller canvases hung close together to create one larger piece. When looking at the exhibition we were trying to work out how this would be painted would he do each canvas individually or all as one?
When looking into it we found this image showing Hockney painting the scene with the six canvases arranged as they are on display. Whether he mapped out the edges of the canvas/basics of the small image and then worked back into each individually or did just do it all at once is not obvious from this image. We think its great that he has actually set this up within the field that he’s painting as with the technique seen within the ‘Australian impressionists’ exhibition we wrote about a few weeks back and not just done it from a photograph.
This is a collection of 36 digital videos synchronized and presented on 36 monitors to comprise a single artwork. They each last around 4 mins 21 seconds. Each screen consists of nine videos that play at the same time. The videos within the screen are simply the views from different perspectives of a car going down a road. Again we wondered how it was done.
The above two images show the device and Hockney at work capturing the videos. We were trying to think of what kind of high tech piece of kit he could of used to create this piece. The rig set up on the bonnet of the car is definitely a lot less complicated than we were expecting and just what we were thinking he would have done. It is interesting that he sits in the back of the car watching every moment of the videos being recorded, even though the cameras will be capturing the work he doesn’t let anything turn out not as imagined or expected.
And the title of this blog comes from the observation of Hockney not really drawing/painting feet. They are always covered with shoes, furniture or missed off completely.
For example the large socks or bucket in the painting above.
We also really liked this photomontage of Hockney’s mother. There is a lot of skill used to perfectly capture and then realign the images to get her face clear and not distorted.
The exhibition is open until the 29th May – so get down and check it out for yourself.
Pantone have released their spring 2017 colours and they’re a pretty bright and beautiful range. So we’ve collected some images of the colours in action to show you what you can do with them within your home.
Hope you have enjoyed this spring colour inspiration!
This design was made in answer to a made up brief for John Lewis. The brief outlined the size of the room and the wants and needs of the clients. Here is the brief in short; warm tones, show off the victorian oak floorboards, to include an office area, spaces to display photographic work, be able to be used by all five family members and a stylish design. Above is the initial mood board of spaces, products and colour combinations
After finding existing images that I thought related to the space and the clients brief I then grouped a collection of colours, patterns and materials for the space and looked at how they could work together.
Having chosen the colour scheme and taken a look at the materials and patterns available within John Lewis the next step was to look at the products in the grey and yellow colours chosen and that will go within the space. The above two boards show the various products that would work and the options for accessories and furniture for the room.
These next two boards show the chosen furniture for the room. Starting to group them together and layer the materials and patterns on top of each other.
Having chosen the furniture the next step was putting them together within the context of the room. Creating these visuals with the use of Autocad and Photoshop. The above image and below three show the views of the different walls and placement of the furniture in relation to the space. These visuals also show the suggested arrangement of the photo frames on the walls.
The final below board shows some very simple 3d visuals of the room and an Autocad plan of the room. The time frame for this project was very short, if I had more time to work on this project these final visuals would be more detailed and engaging rather than the blocky simple images they currently are.
We really enjoyed working on this project and hope you like what we designed!
One of the current exhibitions at the Tate Modern is a large retrospective of Robert Rauschenberg’s 6o year career as an artist. Through 11 gallery spaces you are shown the journey of his work from his early experimentation to his late work with all the seemingly random and continuously experimental work in-between.
We went to visit it and so wanted to let you know what we thought. This is written with two people opinions. Beth’s (B) who is the designer and artist behind Bethvictoria.com and Paul (P) a lover of art and design but with a business background. We thought it would be interesting to see the two opinions formed from the pieces.
The first two pieces are found in the first, ‘Experimentation’ room of the exhibition. This room shows the work he created within Black Mountain College where he took classes in the fine arts and the initial works he created during his marriage to Susan Weil. ‘Experimentation’ shows various materials he worked with from light sensitive paper to a car, paint and paper.
About: Created with the help of composer John Cage and his Model A Ford. The piece challenges the idea of art and authorship.
What we thought
B: A simplistic idea and kind of print. For me it shows the trace that we leave. Even the simple day to day things that we do, like driving a car, change the world around us and leave a print. A comment on society.
P: I like this for its simplicity, but technically this probably isn’t as straightforward as one might think. Keeping all the sheets of paper accurately juxtaposed achieving a smooth substrate to minimise counter-imprints from under the paper, and ensuring the tire was loaded with sufficient paint to get the consistency of impression over what looks like to revolutions of the car wheel, would have been challenges to overcome.
About: Part of a body of work named Black Paintings created to test the boundaries of abstraction in the 50s. Untitled, 1951, created whilst he was studying, uses layers of newspaper and dense black paint to create a textured and glossy painting.
What we thought
B: The texture of the newspaper isn’t obvious until you get closer to this piece. That’s what I find interesting about this piece. From far away it just looks like black canvas but when you get closer you see that there’s texture and movement with how the light plays on the glossy paint. If you don’t look at it properly you don’t see the detail and it doesn’t make sense.
P: This is moody. The exhibition lighting could, to my mind, have created more atmosphere. Rauschenberg probably approached this from an experimental angle and discovered an abstraction of form and colour that worked. The proportions are comfortable to the eye and I like the emphasis that is given to the abutment of the varying width canvases that make up the whole.
In room three of the exhibition you find the ‘Combines’. Combining materials, objects and processes to create works that he said became ‘awkward physically’. Using mostly found objects which he put on canvas and then enhanced with abstract paint marks. The combines were made in his studio, live on stage and also some grew with their time in exhibition via viewer participation.
About: Not being able to afford canvas Rauschenberg decided to use his quilt, sheet and pillow for this piece. When it was first viewed it was considered a threatening piece, Rauschenberg said that he did not mean for it it be harsh.
What we thought
B: I wouldn’t say it looks cozy. But I do relate to it. To me its the boundary between being awake and dreaming. The cover at the bottom and pillow at the top are practically untouched – the real uniform world we are in when we are awake. And the part where you would slip under the cover is messy and colourful – the explosion of your ideas and imagination that comes when you are asleep and dreaming.
P: Not a lot to say about this other than I think it is great. I particularly like the almost ‘impressionist’ colour spectrum that is created around the fold of the quilt.
About: Originally this was a piece that the audience could participate in. The four clipboards on the canvas were for viewers to put their own pieces of art/notes or doodles into the work. The box contained objects and people were encouraged to take one in exchange for an object of their own. (This was stopped when in one exhibition the objects were taken and not replaced)
What we thought
B: The idea of being able to add to and interact with this piece is really great. I love the idea that Rauschenberg took his recognition and allowed other people to get involved with it. Collaborating with everyone and getting everyone involved in making art.
P: I would love to know if Rauschenberg took an interest in how the contents of the box changed over time. Keeping snapshots of the ever-changing range of items, with the common theme of having been ‘swapped in’ might have been the basis for more follow-on work perhaps.
Silkscreens (Room 5) were a key part in Rauschenberg’s recognition as an artist, being the key to his breakthrough in 1963. Rauschenberg was working on these at the same time as Warhol. He started using his own imagery then he developed to using colour and more recognisable found imagery, touching on the subjects of politics, science and sport. Once his silkscreens had been recognised and shown within galleries he immediately destroyed the tools needed to make any more, removing any possibility of the ease to just repeat himself.
About: Almanac was one of his first screen prints and doesn’t hold any real meaning. It is just an exploration of the combination of imagery, strokes and textures.
What we thought
B: Unlike Warhol, Rauschenberg’s screen prints aren’t concerned with the celebrity. They are, as with his other work, experimental and show working. It doesn’t tell you what it is or how you should think about it – you decide for yourself.
P: At first, this piece creates an internal struggle in the observer as it appears chaotic (Tate calls it ‘poetic’ – I’m not so sure). But as one deciphers the images that have been screen printed and the brush work that is added for emphasis, one is taken on a journey of one’s own making. The piece becomes something different to each observer.
Room 11 shows Rauschenberg’s late works. He had a keen interest in using the latest technology in photography to produce large scale works. He continued to make work until his death in 2008. They continued to be collaborative and experimental. Questioning the idea of art and ownership and the development in technology, media and culture.
About: Mirthday Man was made on Rauschenberg’s 72nd birthday. It includes an x-ray of himself, clippings from art history and imagery from his travels.
What we thought
B: From the exhibition it seemed that Rauschenberg after time creating less colourful box, B&W photographs and installations went back to this type of work that is similar to his screen prints but with modern techniques. I just love that even on his 72nd birthday and for ten more years he was creating such interesting works.
P: It seems a random combination of images, but it isn’t. I imagine the artist anguishing over the arrangement of colour, shape and topic, either to give some order to it all, or to intentionally create disharmony. This is a piece one can look at for hours and see different things and think different things.
So, that’s what we thought about it. The exhibition is open till 2 April 2017 so get down to Tate to see it for yourself!
Having completed MA Interior and Spatial Design (see the work in this blog post) and some work experience with big design firms we feel like we’ve learnt some stuff.
Bethvictoria.com are now taking on some interior design projects as well as the wallpaper and wall coverings. We’ve got a couple on the go but are always happy to talk to anyone about any projects from tiny to huge that we may be able to help with!
Heres a little recap of what we offer:
Two variations available in two different colours, part of the 2014 originals collection.
A hand painted service currently available in the Berkshire and London area. Contact firstname.lastname@example.org for any enquiries of this service.
Prints and art
Photographic prints. As well as Interior and Spatial design we also studied Photography and have a small collection of our images available as prints on our website and Etsy.
We also have a small limited edition amount of crayon art. Available in three different sizes and can be found on our Etsy site too.
Interior and Spatial Design
We’re at the very early stages of the two interiors projects we have on at the moment. So heres a sample of our Masters work and a design for a seating area done as part of work experience.
Hopefully this space will get filled up with a variety of spatial, residential and hospitality interior design in the not too distant future! Again contact email@example.com for any more information.
Watch out for blog posts on the projects progress in the not too distant future!
We’ve read from the people that know that one big trend during 2017 will be velvet! Whilst collecting images of various velvet containing rooms we saw a definite pattern in big blue comfy sofas and chairs. Blue is predicted to be within a lot of interiors this year and it would seem this relates back to the velvet trend.
Inspired by this velvet comfiness we have found a few options that you can get in your home. From chunky sofas to sophisticated cocktail chairs and lush throws – we’ve got all the velvet bases covered.
Here are a collection of velvety goodness that you can get into your own home. Go for these varied colours or stick with the predicted blue theme for the year (most items available in multiple colours).
This is simply about our love of mid century modern arm chairs. Just look at them. They shouldn’t, and in some of these cases aren’t, be considered a piece that goes only within a mid-century modern themed room. Gentle coloured upholstering goes with a light Scandinavian feel and darker greys work well with a more industrial style.
They’re beautiful. So we’ve found some that can be purchased. We want them all.