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Self reflective statement on current brief

Self-Reflective statement

Now I’ve completed my collection of 12 designs, hypothetically designed for Sassy World, I can reflect on my work and research and how I think I have done. I was really excited for this brief as it got to really touch on my person style, which made the research and design work really exciting. I chose to design for fashion textiles as that’s the market I would put myself in, if given the choice, even though I’m confident that my collection would work well as part of an interior design or stationary collection, my theme has been very versatile.

I feel work has gone quite smoothly, keeping up with research and design work. Most of my research came from online, vintage designers such as MOs chino and Versace, but a lot of my design work came from retro clothing, that I’ve seen in films, shops and online. I took a lot of inspiration from designer Camille Walala, her work is geometric, colourful and versatile. She mainly works with interiors but has done collaborations with Caterpillar shoes, which made not just her designs appealing to me, but aspirations too!

Something that I’m not too pleased about in my collection is the lack of fabric samples, I usually like to work manually, producing designs by hand in the print or stitch room. Although I have 3 designs done in print, using silk, heat transfer and batik, the rest have been done digitally. Now this isn’t necessarily a bad thing, I see it as broadening my skills as I’ve done very minimal digital design work up to now. The 3 I produced in the print room are among my favourites in my collection, the colours explode and the print on them are abstract and fluid. Unfortunately I didn’t use stitch for this particular project, if given more though I maybe would have incorporated stitch into my collection more, but my ideas just happened to work better with print and digital.

When choosing my colour palette I went for simple, bright colours to be contrasted with black, and when choosing an on trend colour palette I found something perfect on WGSN, predicted for S/S 2016 called Visceral, it consists of 14 colours, including bright and dark. My palette worked really well with my designs, which for most I drew by hand, scanned in and painted on Photoshop (which I did not find easy!) If my Photoshop skills were more advanced I would have tried creating my design digitally as well as colouring it, but as I mentioned earlier I do like to work by hand, so using a mixture of hand and digital was a good mix for me.

I really enjoyed learning how to put hand drawn crouqis into repeat, although I was baffled at first, when I put it into practice was worked very well, in fact one of my final designs were created using this method, then put into alternate colourway. Another thing that I found particularly challenging at first was Photoshop, I struggle in general with the programme, but we had to use up to 3 of our designs for CAD visuals. This was daunting along with the idea of actually creating designs using Photoshop, but it went surprisingly well! I wouldn’t put it on my CV yet, but I am happy with the outcome, I know there are a million other things I could do to the image to make the CAD perfect but as a first attempt I am happy and will continue to learn more and further my budding Photoshop skills!

To work on from this point with my collection, I would like to experiment more with print techniques to produce more fabric samples, and continue to create hand drawn design and colour them digitally using my palette and of course to forever update my research. All in all I have thoroughly enjoyed my brief and am happy with my collection.

How to mount your work professionally and beautifully!

This is the hand out I have been given for guidance on mounting work and presenting it professionally.


The focus of this studio design based module has been about working to a self-set hypothetical design commission brief. The brief has asked you to create a collection of designs for a carefully chosen existing company that is based within one of the market areas of Interiors, Fashion or Stationery.

The development and creation of an individual solution to the brief and the production of a market relevant body of design work is looked for.

A well planned and executed final presentation, at this important formative assessment point, should strongly demonstrate your growing professional awareness and approach.




Flat mounting is a method widely used to present paper croquis design work.

It is economical, lightweight and easy to transfer should mounts become dirty.

Aim to make it as easy as possible to handle and view your design work: collaged or intercut areas should not fall off or fall apart when it is picked up!

  • Trim croquis to exact size, working on a cutting mat: use a new blade in your scalpel; use a metal ruler and a setsquare to ensure accurate corners and straight edges.
  • On the back of the croquis design apply magic tape, for protection, to the top corners.
  • Apply double-sided tape onto the magic tape and stick to mount sheet. The design should be centred, or slightly nearer the top.
  • The mount sheet is invariably WHITE and is usually medium weight cartridge paper or lightweight card.
  • Select standard mount sizes such as A4; A3; or A2; as the size of your croquis design dictates.
  • On the back of the mount, word process a sticky label to show name and design no. You can include details of type of processes used. Number of colours can also be logged.  
  1. There are two ways to present fabric croquis: one is by flat mounting the fabric onto a mount slightly larger than itself; the other is by attaching it to a paper header.

Flat mounting:

  • Work on a cutting mat; trim fabric croquis to an exact square or rectangle using sharp scissors or a knife. It can help to first lightly pencil the cutting line on the back of the fabric using a ruler and setsquare. Ensure the grain of the fabric is straight. Cut just inside the pencil line to remove it from the croquis. Use very sharp scissors that are kept for cutting fabric only.
  • If the fabric is very lightweight, frays easily, or is generally difficult to handle, put narrow magic tape on the back of the fabric and cut down the centre of it. Leave the remaining tape on the croquis.
  • On the back of the croquis apply magic tape to the top two corners for protection.
  • Apply double-sided tape to the magic tape and stick croquis to mount sheet. The croquis should be centred or slightly nearer the top.
  • Alternatively, the fabric croquis could be neatly stitched onto the mount, across the top.
  • The mount sheet is invariably WHITE and is usually medium weight cartridge paper or lightweight card.
  • Select standard mount sizes such as A4; A3; or A2; as the size of your croquis dictates.
  • On the back of the mount, word process a sticky label to show name and design no. You can include details of type of processes used. Number of colours can also be logged.

Header mounting:

Headers are small strips of lightweight card that are folded over and attached to the top only of the fabric croquis. Hangers can be attached to allow display on a rail.

Several fabric croquis can be displayed together under one header. This is often employed when showing alternative colourways.

  • Prepare your fabric croquis as for flat mounting, above.
  • The header card is usually WHITE. It should be scored and folded precisely and neatly attached to the croquis by staples, sticky tape, glue or stitch.
  • Information regarding the croquis can be written onto the reverse of the header. See above.
  • Sometimes, the header card can be extended down the back of the croquis for extra support, if preferred. This works well for very lightweight and devore fabrics.



Group samples into two categories to begin with

  • Initial samples and less effective fabric croquis can go in technical files with notes as appropriate.
  • Best fabric samples and croquis.

Press your samples.  Be aware that any marks from a disappearing pen will reappear when your croquis are ironed, but they should fade quite quickly afterwards.

  • Always press on the wrong side of the work
  • For highly textured croquis iron face down into a thick towel
  • If a croquis is very puckered, stretch flat on the ironing board and pin in place. Using a steam iron, press outwards from the centre.  Leave to cool before removing from the ironing board

Finish edges.  Choose an appropriate method for neatening the edges of your croquis:

  • Over lock
  • Magic tape
  • Pinking shears
  • Fray

Mount your croquis.  Hand stitch the croquis onto thick cartridge paper at the top edge only.  You may wish to group small samples onto one sheet, either with or without a backing fabric.


All fabric croquis work should be labelled neatly with your name and croquis number.  You can also include details of fabric, any other materials and technique used.  The label should be positioned in the top left hand corner on the reverse of the mount.


Window mounting:

Window mounting is most often used for displaying drawings, embroideries, prints and photographic images. It is ideal for promoting and highlighting selected areas.



Portfolios are essential for keeping work clean, for storage and for transporting. However, they are heavy to carry and expensive to buy.  Clear polythene pockets are good for keeping work clean and tidy but greatly add to the weight of the portfolio and can disadvantage the viewing of delicate work. The zip-around type opens up flat, making large scale work easy to store and transport without damage. It is useful to own several sizes of portfolio.


Essential equipment for professional presenting of work:

  • Ruler
  • Steel ruler
  • Large setsquare
  • Scalpel knife / new blades
  • Pencil, eraser
  • Pritt glue
  • Magic tape
  • Double sided tape
  • Cutting mat
  • Compass with knife attachment
  • Bendy curve / French curve.


  1. Professional Presentation of Work: general considerations-
  2. At the end of each project and module you will usually be asked to either display work on and around your desk, or to hand in work in a portfolio or                      plastic sleeve.
  1. All project briefs, written handouts, technical information etc., must be kept in an A4 ring binder for easy and ordered reference/access.
  1. Drawings should always be stretched if using wet techniques to avoid a ‘corrugated’ result.
  1. Chalk pastels and charcoal should be fixed with fixative spray/hairspray. This must always be done in an open-air environment- NEVER in the studio or workshop.
  1. Collaged work should be stuck down neatly and smoothly to avoid ‘flapping’ on the corners and edges. Choose the right glue for the job, and use carefully and sparingly. E.g. Pritt/Spray Mount/etc.
  1. Work must always be trimmed neatly and squarely, and mounted on paper or card if fragile. Use large set square/ metal ruler/knife NOT scissors. Cut only onto a cutting mat. Only mount your best work or as directed in brief.
  1. Mounted paper work must be stuck on cleanly and carefully with parallel and even distances on either side. Use the appropriate mounting card as indicated in the brief. Never ‘window’ mount unless directly instructed.

Fabric samples and croquis need special mounting techniques, always check with tutor.

  1. Work must be clearly named and labeled on the back of each sheet. All sketch/note books and files must also be named on the front and on the spine.


  1. Finished, ’best’ designs and drawings must be clearly marked as so, and kept separate from roughs and development sheets.
  1. Avoid rolling up work, always store and transport work flat, if at all possible.
  1. Always allow good time for completing presentations, it invariably takes two or three times longer than planned.
  1. Always allow a budget for special purchase items required for presentation.

These are all simple, sensible, professional presentation practices; if you follow them from the beginning they will become second nature to you! Good quality work can so easily be ruined by sloppy, poor presentation and it will always lose you marks.

Repeating designs – How To!!

   This is the hand out I was given to create a repeat design! it was really helpful and the outcome was awesome!

Repeating Structures Workshop

  • Method A: working in repeat from the beginning
  • Method B: working in repeat from a croquis design
  • Exercise: Using Motifs in Different Repeating Formats
  • Repeat Sizes and Measurements




Materials required:

  • 1 sheet graph paper, A1 size or 2xA2 size
  • Several sheets tracing paper, A3 size
  • 2B pencils
  • eraser
  • long ruler
  • set squareFULL DROP REPEAT:
  1. Tape graph paper down onto table. Place a sheet of tracing over. Rule up a 18 cm square. Mark the Top.
  2. Fill in the left side and most of the top edge of the design, using images from your resource material (drawn or photocopied). Do not worry if some shapes extend over the lines or the crosses of the drawn square.
  3. Make two tracings of what you have done; include the crosses, images and ‘Top’ on each. Line up the crosses with the original, placing one to the right and one directly below. Tape down. Check that everything is aligned to graph paper. Now you can see how well the images repeat so far.
  4. Fill in between with similar images to create an even flow.
  5. Trace what you have just added onto the other two tracings and stick them back in place. Check the overall flow of the images across all the units and adjust as necessary, remember to alter on all copies. Unexpected lines and gaps must be dealt with now.
  6. Finally trace out the design onto cartridge paper, showing at least four units of design. You are now ready to paint up.From ‘Design & Practice for Printed Textiles’ A McNamara & P Snelling.             RptsMthdA
  7. HW Staff 03.15

Materials required:

  • 1 sheet graph paper, A1 size or 2xA2 size
  • Several sheets tracing paper, A3 size
  • 2B pencils, eraser, long ruler, set square FULL DROP REPEAT:
  1. Measure the croquis to work out the repeat size, i.e. measure from a point on one motif to where that point would reappear on the same horizontal line and vertical line, e.g. 30cm.
  2. Draw the crosses to the repeat size on three pieces of tracing paper and place one over the croquis, lining it up to be as square as you can with the design. Mark the Top. Trace the whole croquis, but make sure you do not include motifs that recur. You might have used the same image over again within the unit of repeat – include these, but leave out the motifs you have added to the croquis to indicate repeat.
  3. Trace two more copies onto the other two sheets.
  4. Join up the three copies, matching the crosses and keeping everything aligned on graph paper. You will be able to see where motifs crash into each other, or where gaps have been left. Make adjustments, remembering to alter all copies.
  5. When satisfied that all elements flow and balance, trace out the whole design over four units. You are now ready to paint up. From ‘Design & Practice for Printed Textiles’    By A McNamara & P Snelling.                       RptsMthdB 
  7. HW Staff 03.15

Explore the possibilities of using motifs in a variety of formats.

Using one of your own motifs, which must remain recognisably the same throughout the series, show the use of:

  • Three different repeat systems: to include a ‘full drop’ and a ‘half drop’ format, plus one other.
  • Positive and negative space
  • A change of scale

1          Choose one motif from your resource material; it should be fairly simple with a direction. Avoid essentially circular, square or rectangular shapes. You can adapt your motif by bending, elongating or shrinking if you wish as long as it remains recognisable.

2          Look at the various repeat layout formats posted in the studio. Choose three different ones that you can use with your motif to generate a series of one colour designs.

3          Work in an 18cm X 18cm format over graph paper so you keep everything square, and trace the connecting edges.

Do not force your motif into a repeat system that it does not suit. Successful textile designs are produced by getting the right combination of motif and repeat system.

4          As well as creating three different repeat formats, one of these designs should show the use of positive and negative shapes for generating pattern.

5          Another design should show the use of a change of scale.

Aim for maximum variation within the set of three. Draw all three designs out neatly as simple outlines. Present the three designs as a series, considering also if they work well as coordinates.                                          HW Staff 03.15      RptExs



Furnishing fabrics:

                                    METRIC                                                                                    IMPERIAL

Width of cloth:            120cm; 137cm                                                            48”; 54”

Side repeat:                 complete width or exact subdivision

Vertical repeat:           Roller – 40.6cm; 45.7cm; 61.0cm                  16”; 18”; 24”

Larger sizes are possible with some manufacturers:            

64cm; 76cm                                                    251/4”; 30”

Wall coverings:

Width of paper:           52cm                                                               201/2

Side repeat:                 complete width or exact subdivision

Vertical repeat:           Roller – 38cm; 45cm; 53cm; 60cm                15”; 18”; 21”; 24”

Continental Duvets:

  • Single:                         200cm x 135cm                                  78” x 54”
  • Double:                        200cm x 200cm                                  78” x 78”
  • King:                            200cm x 230cm                                  78” x 90”

Side to side repeat:     91.50cm; 64.16cm

Height of repeat:                    Any size up to 200cm


  • Single Bed:                  280cm x 180cm                                  108” x 70”
  • Double Bed                 280cm x 230cm                                  108” x 90”
  • King Size                      280cm x 300cm                                  108” x 117”


  • British                          75cm x 50cm                                      30” x 20”
  • Continental                 60cm x 60cm                                      24” x 24”


  • Face Cloth                   30cm x 30cm                                      12” x 12”
  • Guest                           70cm x 40cm                                      28” x 16”
  • Hand                            112cm x 56cm                                    44” x 22”
  • Bath                             138cm x 76cm                                    54” x 30”
  • Bath Sheet                   178cm x 100cm                                  70” x 40”


  • Square:                        90cm; 115cm; 130cm                         36”; 45”; 52”
  • Rectangular:               180cm x 130cm                                  70” x 52”

230cm x 140cm                                  90” x 54”

275cm x 160cm                                  108” x 64”

  • Circular:                      180cm                                                 72”

230cm                                                             90”

Allow for hem and edge


  • Square:                        40cm or 45cm                                     16” or 18”
  • Circular                       30cm                                                   12”
  • Oval                             40cm x 30cm                                      16” x 12”

Tea Towels:                        

Rectangular:                           80cm x 54cm                                      31” x 21”


  • Ladies Square:             30cm                                                   12”
  • Mens Square:              45cm                                                   18”


Width of cloth:                        90cm; 115cm                                      36”; 45”

Side repeat:                             Any suitable size for the scale and proportion of the                                                            design. The width of the cloth can be ignored.

Vertical repeat                        Roller is 40.5cm                                  16”

Screen is up 61cm                               24”

Transfer Print Roller is 51cm             20”


Square:                                    70cm; 80cm; 90cm;                            27”; 31”; 36”

Rectangular                            Various widths and lengths



Size:     Check at shops the size used by manufacturers you wish to sell to. Generally accepted: 7” x 5” plus up to 1” to bleed off. It is easier to design this size and then company can photographically reduce it.

Gift Wrap and Stationery:

Product:                       length x width                                                 length x width

69cm x 48cm                                                  27” x 19”

Standard repeat:         19cm x 19cm, but show more as this is very small



General note:

There are a series of preferred design sizes which can be used for both croquis and designs in repeat, and are the most versatile for a wide range of products:


Dress:                                    length x width-METRIC                                             length x width- IMPERIAL

15cm x 15cm                                      6” x 6”

30cm x 15cm                                      12” x 6”

32cm x 32cm                                      12” x 12”

45cm x 30cm                                      18” x 12”

45cm x 45cm                                      18” x 18”

Furnishing:              length x widthMETRIC                                length x width- IMPERIAL

32cm x 32cm                                      12” x 12”

64cm x 60cm                                      251/4” x 24”

64cm x 117cm                                    251/4” x 46”

64cm x 137cm                                    251/4” x 52”


CAD Visuals… the devils work

So, one thing on my list of deliverables is one of my designs shown as a CAD (computer aided design, for those who no nothing about this stuff like me). This is done in photoshop which instantly scares me, and after a brief introduction to it in Uni i still have no idea. so one of my lovely classmates offered to give e a crash course to get me started. It looks painfully easy when watching someone who knows what they are doing, but in all honesty the process seems pretty simple. I am yet to give it a go myself as i don’t have photoshop on my personal laptop, but i will be give it a good ol’ go tomorrow!

Repeat Patterns

For part two of my current subject we have been looking at how to successfully create repeat patterns using crouqis. As my theme is 90s Brights and Clash i have been looking to existing prints an fabrics for inspiration, mailny taking pictures of interesting garments in charity shops and using images found online. I won’t let you see my final designs yet as they are all still yet to be made perfect, but here are some of the images i have been using to create my masterpieces!

Enjoy 🙂

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