Youth Culture - Typography

Wonderwall- Oasis
Black or White - Michael Jackson
Where is the Love - Black Eye Peas
Back to Black - Amy Whinehouse
Photograph - Ed Sheeran
Pretty Hurts - Beyonce


Photograph - Ed Sheeran 

Loving can hurt, loving can hurt sometimes
But it's the only thing that I know
When it gets hard, you know it can get hard sometimes
It is the only thing that makes us feel alive

We keep this love in a photograph
We made these memories for ourselves
Where our eyes are never closing
Hearts are never broken
And time's forever frozen still

So you can keep me
Inside the pocket of your ripped jeans
Holding me closer 'til our eyes meet
You won't ever be alone, wait for me to come home

Loving can heal, loving can mend your soul
And it's the only thing that I know, know
I swear it will get easier,
Remember that with every piece of you
And it's the only thing we take with us when we die

We keep this love in this photograph
We made these memories for ourselves
Where our eyes are never closing
hearts are never broken
And time's forever frozen still

So you can keep me
Inside the pocket of your ripped jeans
Holding me closer 'til our eyes meet
You won't ever be alone

And if you hurt me
That's okay baby, only words bleed
Inside these pages you just hold me
And I won’t ever let you go
Wait for me to come home
Wait for me to come home
Wait for me to come home
Wait for me to come home

You can fit me
Inside the necklace you got when you were sixteen
Next to your heartbeat where I should be
Keep it deep within your soul

And if you hurt me
Well, that's okay baby, only words bleed
Inside these pages you just hold me
And I won’t ever let you go

When I'm away, I will remember how you kissed me
Under the lamppost back on Sixth street
Hearing you whisper through the phone,
"Wait for me to come home."

https://www.youtube.com/watch?v=5NWnF_cdtIA

Pretty Hurts - Beyonce 

Mama said, "You're a pretty girl.
What's in your head, it doesn't matter
Brush your hair, fix your teeth.
What you wear is all that matters."

[Pre-Hook:]
Just another stage, pageant the pain away
This time I'm gonna take the crown
Without falling down, down, down

[Hook:]
Pretty hurts, we shine the light on whatever's worst
Perfection is a disease of a nation, pretty hurts, pretty hurts
Pretty hurts, we shine the light on whatever's worst
We try to fix something but you can't fix what you can't see
It's the soul that needs the surgery

(Uh huh huh)

[Verse 2:]
Blonder hair, flat chest
TV says, "Bigger is better."
South beach, sugar free
Vogue says, "Thinner is better."

[Pre-Hook:]
Just another stage, pageant the pain away
This time I'm gonna take the crown
Without falling down, down, down

[Hook:]
Pretty hurts, we shine the light on whatever's worst
Perfection is a disease of a nation, pretty hurts, pretty hurts (pretty hurts)
Pretty hurts (pretty hurts), we shine the light on whatever's worst
We try to fix something but you can't fix what you can't see
It's the soul that needs the surgery

[Bridge:]
Ain't got no doctor or pill that can take the pain away
The pain's inside and nobody frees you from your body
It's the soul, it's the soul that needs surgery
It's my soul that needs surgery
Plastic smiles and denial can only take you so far
Then you break when the fake facade leaves you in the dark
You left with shattered mirrors and the shards of a beautiful past

[Hook:]
Pretty hurts, we shine the light on whatever's worst (pretty hurts)
Perfection is a disease of a nation, pretty hurts, pretty hurts
Pretty hurts, we shine the light on whatever's worst
We try to fix something but you can't fix what you can't see
It's the soul that needs the surgery

[Outro:]
When you're alone all by yourself (pretty hurts, pretty hurts)
And you're lying in your bed (pretty hurts, pretty hurts)
Reflection stares right into you (pretty hurts, pretty hurts)
Are you happy with yourself? (pretty hurts, pretty hurts)

You stripped away the masquerade (pretty hurts, pretty hurts)
The illusion has been shed (pretty hurts, pretty hurts)
Are you happy with yourself? (pretty hurts, pretty hurts)
Are you happy with yourself? (pretty hurts, pretty hurts)

Yes
Uh huh huh

https://www.youtube.com/watch?v=wZ8TIlF9Y0s

Timmey Fowler

In 1980 Sue Timney and Grahame Fowler co-founded Timney Fowler the fabric and design company best known for its black and white graphic imagery. Sue Timney took over Timney Fowler and established the Sue_TIMNEY Design Practice in 2001. She was made a Visiting Professor in 2000 and Honorary Fellow in 2007 at the Royal College of Art.

In 2002 alongside the Timney Fowler brand, the Sue_TIMNEY Interior Design and Graphics Consultancy was set up to work on specialist residential, exhibition and branding projects. 2009 saw the beginning of her appointment as Trustee of The Laura Ashley Foundation and collaboration with The Rug Company. In 2010 she was appointed Education Director of theBritish Institute of Interior Design and a retrospective of Sue's work was shown at The Fashion and Textile Museum in London. Her design biography ‘Making Marks’ was also published by Pointed Leaf Press in New York at that time. TheHouse of Fraser launched the Timney brand for Home and Fashion in 2011 and the same year her work was exhibited in the ‘Postmodernism: Style & Subversion 1970-1990’ exhibition at the Victoria & Albert Museum.

Timney was commissioned by the V&A and Random House in 2012 to design a British Vintage Classics book to celebrate British Design. Her interior work was also featured in the Victoria & Albert Museum’s exhibition ‘British Design 1948-2012: Innovation in the Modern Age’ and ‘175 years at the RCA’ held at the Royal College of Art.

Timney was President of the British Institute of Interior Design (BIID) from 2012 – 2014 and is an interior design consultant for Television. More recently in 2013, Sue designed the Kaffe Fassett retrospective at the Fashion & Textile Museum in London. She also exhibited her designs in the ‘Club to Catwalk’ exhibition at the V&A Museum, in 2013. Currently the Sue_TIMNEY for West Dean collection of products developed for the Edward James Foundation will be launched and exhibited 2014 at the V&A Museum London.

Both of his prints look like that are inspired by Greek statues with the heads in the top and full body ones in the bottom one. There is a clear pattern in both of them by using repetitive ones.

 

William Morris

William Morris (24 March 1834 – 3 October 1896) was an English textile designer, poet, novelist, translator, and socialist activist. Associated with the British Arts and Crafts Movement, he was a major contributor to the revival of traditional British textile arts and methods of production. His literary contributions helped to establish the modern fantasy genre, while he played a significant role in propagating the early socialist movement in Britain.

You can tell that these pieces have been done in the 1800 due to the style of them and also the colors that have been used. The are both very similar with the use of flowers and leaves and look like the artist was very in touch with nature.

Giles Miller Studio

London-based design practice, Giles Miller Studio, specialises in the development of truly innovative surface and interior design projects. Our studio prides itself on the ability to deliver a diverse range of surface solutions that marry architecture with beautiful interior finish through inspiring surface development.

The studio has not only attained extensive international press coverage but has also created acclaimed work for some of the world’s most prestigious brand-names across a variety of industries.

Both of these pieces are very textured and have a vey repetitive pattern to them. They both have a vey modern style to them and look futuristic.
I prefer the top one because its bright and I like the pattern to it.

Lucienne Day

Désirée Lucienne Lisbeth Dulcie Day RDI (née Conradi; 5 January 1917 – 30 January 2010) was a British textile designer. Inspired by abstract art, she pioneered the use of bright, optimistic, abstract patterns in post-war England, and was eventually celebrated worldwide.

Day's work combined organic shapes with bright patterns inspired by contemporary abstract painters such as Wassily Kandinsky and Joan Miró. She believed that good design should be affordable, and in 2003 told The Scotsman newspaper that she had been "very interested in modern painting although I didn’t want to be a painter. I put my inspiration from painting into my textiles, partly, because I suppose I was very practical. I still am. I wanted the work I was doing to be seen by people and be used by people. They had been starved of interesting things for their homes in the war years, either textiles or furniture.

Both of these pieces both have the use of triangles but the top one is very scattered and random and the bottom one have used the whole of the space and these is no blank space and there is a clear pattern to it.

I prefer the top one more because its more random.

Rob Ryan

Rob Ryan (born 1962) is a British visual artist who specialises in papercutting and screen-printing. He is now most famous for his detailed paper cut outs. His artwork has featured in Vogue, Elle, and Stylist. He has also collaborated with fashion designer Paul Smith.

Ryan has illustrated book and album covers, including John Connolly's novel The Book of Lost Things, Erasure's albumNightbird, Chambers Lost Crafts by Una McGovern and Dara Horn's novel The World to Come. His first book, This Is for You, was published on October 4, 2007 by Hodder & Stoughton; it consists of a fairy tale told through his paper cut-out art and explores themes of love and loneliness. Ryan also creates the Global Gift greeting cards for the charity Trocaire.

 Rob Ryans subject matter is very nature like and always has animals in it. The colours of the works are both in only one color and also because of the stencil he can only use one color in his work.

Orla Kiely

Orla Kiely is an Irish fashion designer based in London. She began her career designing hats, and moved on to design work on handbags and a variety of other items including kitchenware and cars. She received a Master's degreefrom the Royal College of Art. She worked with several companies before setting up her own business.

Kiely was described by The Guardian as "the Queen of Prints." Her designs have been used for a variety of objects, including kitchenware, stationery, furniture, wallpaper, and a range of Citroën DS3 cars. The cars feature Kiely's design work on the roofs, tailgate and a signature in the middle of the rear spoiler. The interior features pattern work on the carpet mats and on the seat headrests

She has also designed a refillable water bottle called the "Wottle", which is a collaboration with the water filter company Brita. The bottle features her green-stem design and is made from high-density polyethylene, a recyclable plastic material, and produced by a company in Suffolk.

Her business operates out of a three-storey building in Clapham, South London, near her home. Her studio occupies the middle floor, chosen specifically because of the availability of light.

This pattern is a retro, geometric 1950s style. Its a repetitive pattern and it can fit into anywhere because if the pale colours and also the simplicity of the design. 

The repete is a mirror repet and also a stripy effect. This pattern is a very simple design, the colours are all very natural, from the same color pallet and don't fight each other.

Evaluation for Vintage Tech

Evaluation of ‘Vintage Technology’

For out project we had to create 3 panels all 210mm-210mm containing an element of Vintage Technology, I chose to base mine on telephones and how they have changed.

For my fist panel I chose to use the technique of Negative Space because I thought that I can have the best out- come for this panel. The media that I decided to use was black acrylic paint; I chose this because it gives the best effect for what I wanted to produce.  The formal element incorporated in this panel is tone because you have the contrast between black and white. There is a lack of color due to it being in black and white. There isn’t any texture in this panel because it’s a very flat piece of art. I had done a lot of experimentation for this panel like using different media’s and also what part of the phone that should be incorporated in this piece.

In my second panel I have done a Lino Print and that is of a 1990’s Nokia phone that I found on the internet. To create this panel I had to first draw the phone onto Lino with a pencil and to carve out the outline with the carving tools provided. I decided to create a test Lino Print to have something test with and instead of cutting out all of the negative space behind the carved out phone I decided to create these lines with it to give the print some sort of background. By accident the lines happened to be going down so when it came to printing the test ones it gave the phones background a nice effect and some texture. I also decided to carve 2 phones next to each other on the final one. When it came to the final one I used the same techniques that I used in the test one. There is texture in the piece because you can see where the paint has been and some of it not picking up on the paper and it has a nice effect to it. There is also not much color in to as it’s done on white paper with black paint.  I think this one is my strongest panel out of the 3.

My third panel is an Image Transfer and by creating this I got a tea bag and got it wet and washed it all over and then stuck newspaper on then did another wash with the tea bag. To get the images to transfer onto the paper you stick them face down on the paper with transfer gel then when it’s all dried you get some water and peel it off and it leaves the image on the paper. I found this one the trickiest because you need to make sure all the paper is off otherwise it leaves a white mark all over it because of the water, this process is quite tedious. I had done 2 different test pieces for this panel, one with just the tea stain and one with tea stain and newspaper and the one I thought was the most effective was the one with both.  In this panel you have lots of texture because of the newspaper being added and also the roughness of the edges of the images.