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- Title of Exhibit Proposal:
Crafting Pattern and Form (Ref #251)
- Date:
- 30-01-2007 16:55:55
- Status:
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Accepted
- Rating:
- 8
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Details:
The proposed exhibition pieces explore the interactions between two-dimensional pattern and three-dimensional form focussing on the transition from simplicity to complexity. They are based on the premise that pattern can enhance or camouflage aspects of the three-dimensional form and thus, change the way the form is perceived.
The form derives from a simple one metre square of fabric draped on the bias around a mannequin. This creates a diamond shape, when seen from the front, with two opposite corners of the square being at the centre front top and bottom. The other two corners meet at the back of the form and are stitched, creating a folded flap of fabric with complex draping. The process transforms a simple flat shape into a complex and yet subtle form. The bias drape makes the fabric cleave to the underlying three-dimensional form in some places whilst creating a strong gravitational movement in others. The form differs according to the draping characteristics of the fabric used.
The patterns are created using computer software and then digitally printed on the selected fabric. They begin as small, simple, black and white, geometric repeat patterns, which are manipulated using computer-aided wire-frame mapping techniques to simulate three-dimensional surface effects, such as ripples and scrunching. The effects are crafted so that they relate to physical characteristics seen in the three-dimensional draped form.
Illustrations of two examples are included in this submission. Both are printed on viscose, which has a soft draping quality. The three-dimensional forms are, therefore, identical but the different applications of pattern create two very distinct effects. In one, the pattern falls straight down the centre front and increases in scale towards the ground emphasising the gravitational direction of the form. In the other, the pattern wraps diagonally around the form making one more aware of the form?s three-dimensionality.
The design development and the production of these pieces are reliant on the use of computer technology but the design process also draws on observation and experiential knowledge of the interaction of form, drape, and pattern.
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