Dialogue - Brief

Dialogue - Live brief 

Context

Dialogue - The objective is to encourage contributions for a week long, non profit pop up print exhibition and shop that will be held at the Leeds Corn Exchange in March 2014.   The theme of the exhibition is ‘dialogue’ where each creative will submit a design that will be used in a blind collaboration.  Contributors must be open to their submissions being manipulated through the use of print and the match making process, that will pair two submissions together.  This will create a series of screen printed artworks that will be displayed through the running of the exhibition.

Brief or Tasks:

Submissions - Yoke welcomes people from all creative backgrounds to the exhibition.  We’re now ready to start receiving your ideas based around the theme of ‘Dialogue.’  Submissions can take any form of the theme.  It could directly reflect on past conversations, interactions or what you consider communication is today.

Spec

Specifications - Submit to yokeleeds@gmail.com
Artwork must be:
A3 Landscape or Portrait
Vector or Halftone Images
Black & White

300 dpi

Pink Ink - Inspiration boards

Pink Ink - DIY paper marbling

DIY Paper Marbling

Marbling is a printmaking technique that basically looks like capturing a galaxy on a page, except it requires neither subatomic particles nor superhuman skills. 

What you’ll need:

- A set of oil paints

- Turpentine

- A few sheets of uncoated paper—regular printer paper will work, as long as it isn’t glossy.

- A shallow rectangular container (like a baking tray) that is bigger than the size of your paper

- Smaller containers for mixing paint (like jar lids)

- Rubber gloves

- Utensils for mixing and spreading paint. These can be brushes or straws, or you can make your own marbling comb with toothpicks, cardboard, and scotch tape. Just make sure the length of the comb is smaller than the width of your tray, because you’re going to use it to drag the paint across the surface of the water.

Since you’ll be working with paint, you might want to wear old clothes, and cover your workspace with newspapers or a plastic tablecloth to prevent stains. You’ll need relatively easy access to a sink for clean-up, and if you can work near a window, the fresh air will help with the drying process.

Now on to the marbling:

1. Pour about an inch of water into the tray. Then choose the colors you want to use, and squeeze the paint into small, separate containers. Add some white paint if you want to get pastel shades.

2. Add some turpentine to the paint and mix. I suggest doing this in a well-ventilated space and wearing rubber gloves, because you don’t want to breathe in the fumes or irritate your skin. The proportion varies depending on how much paint you are using—I use about a teaspoon of turpentine for every ½ teaspoon of paint. You want the mixture to become liquid and smooth, but not too watery, like so:

4. If you’re happy with the design, you can skip this step, but otherwise, you can redistribute your colors by swirling the mixture gently with a toothpick, blowing on the surface through a straw, or using your marbling comb.

5. Carefully lay a sheet of paper on the water. To avoid submerging it, start at one end and move slowly down the length of the paper—don’t just plop the whole thing down at once. It’s ok if the face-up side gets a little wet, but keep it as dry as you can. Get ready to pick it up right away.

6. Remove the paper as soon as it’s flat! Starting at a corner, gently lift it out of the water. Again, you might want to use rubber gloves.

7. Lay the sheet out flat on a clean, protected surface. Once it’s been drying for a while, you can lay a heavy book on top of it to keep the edges from curling (slide a piece of paper in between to protect your book).

One tray of water is usually enough for three to five prints. Each one will be different from and lighter than the last, as the paint dissipates. It can take a few tries to get the desired effect, but every attempt will be mesmerizing. When it’s done, you’ll have a map of your own undiscovered galaxy—or some decorative gift wrap. It’s whatever you choose, so enjoy! 

Source:http://rookiemag.com/2013/01/diy-paper-marbling/

Pink Ink - Marbled products - Emma Falconer

Here is an example of how marbled print can be used to create a variety of products:

Blue marbled print

Designed by Emma Falconer

Pink Ink - Basso & Brooke

Basso & Brooke

Here are some examples of their designs which are a type of juxtaposed graphic products, made to be digitally processed. The pattern work and photographic combinations work well to show off the bright and bold diverse designs. The products below show exactly what I aim to do with the unconventional pattern making from the marbling methods mixed with photographic manipulation to develop digitally printed products. 

Basso & Brooke - Background information 

Bruno Basso & Christopher Brooke are the pioneers of the digital print process in fashion. They made history with their groundbreaking 100% digitally printed collection, earning them the prestigious Fashion Fringe Award.

Basso & Brooke have collaborated with high profile brands such as Coca-Cola, Converse, Swarovski, Sky HD, L’Oreal Paris, Mac, GHD, Stephen Jones, BT, Cambridge Satchel Company, Nicholas Kirkwood, Habitat, Formica, Lycra, Red Bull, Harrods, Linda Farrow, TIGI and notable others.

The Basso & Brooke Studio colour palette and arsenal of graphics remain as diverse as ever, but the style is, of course, immediately identifiable. There are fireworks and the ripples of topographic maps made up of checks and tartans, there is photo-realistic knit and houndstooth, and abstract graphics that bring together the spirit of Escher and Art Deco with a wild, Technicolor, IMAX sensibility.  As ever, Basso & Brooke’s artwork is maximalist and incredible but always considered, smart and refined. From ‘Nippon Pop’ to “The Art of Noise’, their prints transcend trend and season.

Source:http://bassoandbrooke.com/about-us

Pink Ink || Bevshots || Microscopic patterns

'Bevshots' have produced a seres of photographs using microscopic vision, the images display alcohol at 1000x magnification. 

The process consist of letting a droplet of liquor dry out completely on a slide in an airtight container, and photographing the result with a 35mm camera. The entire process can take up to three months and as many as 200 attempts to properly capture the drink's constituent parts.
Cocktails can have fruit and soft drinks in them which contain citric acids and complex sugars which dry out well and look great photographed.  The incredible shapes and colours of the boozy artwork are highlighted by shining natural light on top and through the bottom of the slide. Just like images of snowflakes, each drink is different.

Dry Martini

Scotch 

Chablis

Champagne 

Daiquiri

Margarita 

Pina Colada 

Rose

Sake

Tequila 

Vodka

Whiskey

White Russian 

Source:http://www.amusingplanet.com/2010/06/alcohol-under-microscope.html

Pink Ink || Pink cells || Image inspiration

Given that my brief concept is 'Pink Ink' I want to incorporate the idea of pink cell formation as an inspirational factor to the design work. 

Below are some images of detailed cell structures from human and animal biology, each of these images are apparent due to the use of a microscope.