Marketing Green Issues:Foreword

Ecology Evolution: Foreward

Marketing Green Issues.

The reasoning behind this book has come from a comprehensive journal documenting a project brief of which includes some of the Ecology Evolution deliveriables for a Masters Degree in Design at University Lincoln 2019.

Extracts from my Design Journal.

Marketing ideas and current debates to encourage consumers to and viewers to seek a deeper understanding of ecology issues is part of the objective of my designing. These new and emerging strategies debates and current issues can be part of visual information on products including Wall Murals, fabrics, wall papers, tote bags and T shirts.

Hand Printed letters using old metal printing press alphabet.

The objective is to give social impact in order to make my work relevant to social needs, recognising global warming and more specifically keeping our oceans clean through conservation campaign strategies within my practical work. Connecting with a number of nongovernmental groups to encourage a deeper meaning of social change through global knowledge of various campaigns including Antarctica Ocean Sanctuary currently run by Greenpeace.

 Greenpeace is an environmental campaign organisation that is currently campaigning to prevent plastic pollution across our oceans, reducing plastic use via consumers is one way of doing this.

The Digital Revolution 
"The digital revolution and it's subsequent technologies have transformed the fashion designers work.Together they form a whole new dimension from within which to create. In particular Adobe's Photoshop and illustrator programs have placed in their hands the tools they needed to bring textile design, traditionally a separate discipline, into their own studios." (Doe.T.2013.12). Collaboration between disciplines is a key advancement in design development and so is the creative collaboration between traditional and contemporary as "Philip Delamore, director of The Fashion Digital Studio based at \London College of Fashion. As a practicing textile designer he has experienced the entire digital print revolution."Early on, I was working on digital prints as a consultant for designers.I would often have to un-digitize them- try to achieve a screen print look with the technique-because digital print was regarded as inferior and that wasn't what designers were looking for.The full blown digital aesthetics look to a long time to develop." (Doe.T.2013.12.)
Integrating  traditional and  digital textiles bridges a gap between industrial visions and traditional crafts. " One of the main issues of design is its use and how it is respected cultivated and progressed through time(product use and usability). In late industrial capitalism, designed, artifacts and the experience of them are sites through which people , to different degrees, live facets of their lives. People live and dream through design. Designed artifacts are, in this sense, materialized ideologies”(Laurel.2003.26).
As Dalke points out "Interdisciplinary is not a place to be reached but rather a commitment to a process of continually testing the value parts, experimenting with different ways they might be combined to make wholes, and using the resulting wholes to refigure the parts"(Dalke et el 2006:7).

Within my dissemination I can see links from my multi faceted project with my numerous test projects that a desire to collaborate different techniques not only to evaluate which is the most eco friendly but also to acknowledge and understand the attributes of each process within one collection in order to add interest  and uniqueness . I have learnt from my project 'Ecology Evolution' is how important the journey through researching visual imagery and theory  is as important and even more so than the actual completed achieved designs. The end products I have created linked intruitivily to the 'why',that is the desire to improve the ecology of the world through knowledge distrubution andd serve as examples of how design can inheret value and meaning for a broader subject.

"Liberty has been at the for front of commercial and art textile printing since the late nineteenth century. During that time it has collaborated with many designers, from Bill Blass to Vivienne Westwood. Emma Mawston, head designer at Liberty fabrics, beleves there is a place for a variety of techniques, so long as they are treated with equally high standards in terms of print mark and colour matching, as well as design. "I think digital printing and screen printing work wonderfully together in a collection enabling different effects and designs to be created. There are colours and tints that are not able to be created digitally only with screen printing and obviously vice versa" (Doe.T.2013.15)

Extract from Ecology Evolution Design Journal.

Image on forward pages we're created on photoshop using a basic effects button. This may well be useful for screen printing imagery on to paper and fabric.

  Adding text to explain damage via plastic pollution, lettering could be bolder using different text would work better.

Photograph taken while flying across Europe.

Whale tail fabric full width plus repeated for fabric roll production.

Repeat pattern width of fabric standard 140 cms wide 200m long ideal for fabric curtains or wall paper. I have also created a number of different scales for wall paper, Muriel and also silk scarf repeat and velvet repeat for interior fabric.
 These fabrics were produced digitally through research within my dissemination I have realised even though currently Memaki digital fabric printers don't use eco conscious inks>However they use less ink than traditional print making " One factor that my determine where printing develops more generally is its environmental footprint. The digital printing process uses half the ink of screen printing methods and results in less waste being discharged.There is also no washing of screens or changing colours, so water consumption is reduced by almost half"(Doe.T.2013.13) The down side is the obsoleting aspect of machinery, new digital machines are constantly being designed for the industry , it isn't unusual for fabric companies to replace their machines every year. I am assuming their old machines would be sold off to other companies to reduce the impact on global waste.Otherwise an awful lot of machine waste finding itself in landfil and possibly inappropriate dumped in areas of the world, polluting our natural world.

Scale developments

I have chosen small repeat fabric scaled down 75% of original repeat for wall paper. I have chosen largest repeat for back velvet for cushions which has the text ’save’and the whale tail in the repeat as a large image single motif.

Digital printing onto silk.

This is the repeat whale tail repeat for the scarf in thin silk, the medium silk has run out which I wanted initially, however the thin is really floaty and light so either would have been good anyway. The repeat needs work as one side has a fatter element and when it is multi repeated it shows up as a block. This will be sorted out before finished print off. The velvet also needs washing twice and it needs to be dried naturally. I will be using my spin dryer to squeeze out any water and then a radiator to dry.

Velvet repeat whale tail.

Digital printing onto velvet.

Silk scarf fabric repeat whale tail.Using Memaki fabric printer. The printing of fabric using digital machines can for some feel a lack of spirt and individualism as described in the book Textile design in the digital age " Many devotees of traditional printing methods maintain that digital printing lacks the spirit and individuality of the more human processes. It can also miss the sincerity of print that has taken many stages to create. By way of response, designers have been enriching their digital prints with embellishment detailing and over printing." (Doe.T(2013.13).

Screen printing using photoshop.

This is the header card for my fabrics so they are displayed well as I am not submitting anything made up accept for a tote bag ,in order to try and reduce plastic use for the consumer to prevent climate change and to keep our seas and our Antarctica save. The repeat pattern of printed baby feet which are my daughter feet printed originally in black white colour are added to photoshop with the save text which has been printed with old cast lettering from an old printing press.Put into photoshop to the scale I wanted and then added to a screen for paper which is different coarse of mesh  then for fabric printing. This was created initially onto a word doc for the Eco Evolution lettering and added to photoshop, it will also be paper packaging for tote bag and wall paper. If I have time I will create a swing ticket as well.

Section from one of my sketch books.

Developments to add to screen headers for fabric swatches and swing tickets and also wrapping packaging.

Screen for printing paper card headers for fabric swatches.

Screen print for paper and card. Using a number of colours white/cream, indigo on cream, linen/ cream,black/white,linen/ white.

Mixing colour inks for screen printing.

Linen colour/putty printing ink.
Created a really nice putty and deep navy for headers and swing tickets. Using up cycled newspaper print paper for packaging.

Printed paper with header and swing tickets.

Printed swings and header card for fabric ready for splicing. I have decided to create a eco ink swing in leather that I am up cycling from a leather sample book. I will be using the laser cutter.

Printing onto Fabric

Screen Printing Traditional Method.   Linning for tote bag with whale Lino print has been created via Photoshop uploading an image that I created off a hand made print I created via old printing alphabet pieces used on old printers for newspapers with a printing of my daughters baby feet that was done using black water colour. I have changed the background by reversing colurway for the bottom of the tote which can become dirty of time.Making the background dark will help keep the tote looking clearer for longer. I am pleased with the indigo navy onto linen, it’s a colour way and fabric choice I have used previously and it’s more or less fail proof, classic and contemporary at the same time. Below is a traditional screen print onto Linen/single colour print.

 

I choice to cut and paste this design to get a random repeat using a collage effect.

Linen is more difficult to print, I over printed due to an area at the bottom of the screen not printing. Next time I need more ink generally on the screen.

Creating my own inks.

I have bought all my ingredients for making my own screen printing inks and also block printing ink for Lino printing. I will be testing on a small screen using an image of a whale. I need consistency in order to analyse correctly. At the moment for my design work for presentation ie MA unit I will be making my samples in inks used in University Lincoln print room. The reason for this is numerous, firstly developing inks is something that takes a lot of time and also the screen used in the print room are very expensive in accurate printing ink can damage them. Therefore I am buying a small screen for this job.

 Photo shop fabric random repeat with a reverse section to go at the bottom of Tote bag/ shopper bag to give it longevity.

Original pattern repeat before reverse panel.

Testing New Wood cutting tools

New Protect Antarctica Lino Print

I developed my Lino print over the past number of weeks while developing other elements of my project creating different dyes onto fabric which I can develop into inks and pigments for Lino inks and screen printing inks.

The colours I am developing are indigo and woad for my Tote bag for shopping to reduce single use plastics.

Lino cut onto A3 using 3 different tools.

I initially draw onto baking crease proof paper so I can turn it around and trace the opposite onto lino. I have also recognised it is useful to rub the lino with a rubber to remove crease that has got onto lino from its making process or your hands. This makes pencil easier to apply. I also use a really thick soft pencil which works really well.

The large one is used for big areas and the smaller ones for detail.

I have chosen to create a new screen print as the finish that you get from a screen print is more defined and more conformed than using the press and a lino, its also commercially quicker and therefore cheaper to make.

I have developed some more Lino prints using coral and seaweed as inspiration. These have been developed from botanical illustrations which I have sourced through Pinterest research.

I think that the tools I have used and my developing skills have increased the element of detail which previously I found difficult to develop using the cheaper tools.

Tools used for cutting link. Big for large areas is useful as it makes the process quicker.

Traditional Lino plate with hessian back.

This Lino plate is harder than the softer Lino that I have been using, I actually really like the colour it’s far more neutral and easier on the eye. It slips a bit more when using tools, however it’s harder so it doesn’t run as far when cutting. I will be printing this plate this week. I traced out my drawing onto plate using inked paper. 

Lino plate initial drawing and the cutting line around it.

Completed Lino cut.

Lino and historical illustrated plate which inspired my Lino cut.
After printing I have realized that the previous lino that I have used the ink rolls onto it easier also the plate after printing it curved and wouldn't lie flat.I could see this as a problem moving forward so I will be using the original  lino that I have been using. The actual print design didn't go to plan, the lettering is difficult to read and the seaweed is to close to the feet. I may use this image on illustrator within a collage print.

Colour blending using printing inks Cranfield :California safe wash relief inks,oil based and washable. Prussian blue/Progress blue/Opaque white.

Clam Cross Hatch lino prints in neutral colours using sketch book ideas for reference. Since purchasing new tools for wood cuts/Lino cuts I have discovered how much better the tools are, however for more care is needed as they are extremely sharp.
I would like to put this lino print into Photoshop and create a repeat pattern.

Mixing ink with palette Knife.

Series of colours for fabric range.

These are the inks colours I used to create these colours mixing with a lot of white. I am hoping to make my own lino inks using an ancient Japanese recipe.

I will be adding natural pigments to create my colours, hopefully creating similar colours than what I am using now

Medium soft roller.

Duck Egg Green

Petrol tone a great neutral colour even though dark.

The roller size medium soft roller head.

I have added a strip panel in the design, the opposite cut away.

Lino Plate.

Mixing the colours took quite a long time I added thinner to this but not too much. After getting the right tone I added a lot more white.

Paper used was Japanese cream mid weight.

Up cycled Old Pennies for Tote Bag Design

Clamp used to hold pennies in when drilling

Drilled pennies and the drill bit that was used.

Piller Drill with cut out switch behind for emergencies.

Detail for Tote Bag.

Old Pennies that I have kept since a child have a visual equality that links to previous times and can give an nostalgia and an awareness of recycling, up cycling theme to my Tote Bag Design. I am designing a Tote Bag to reduce single use plastics as part of my MA Design project. 

Old pennies without drill holes

Method of Application.

I have chosen to drill a hole in my pennies using a drill. Firstly a used a punch hole tool to make a small v shape into the penny. This helps the drill from moving around. For this task,it is important to put the pennies in a vise and make sure when drilling it is placed over the gap so that the drill has room to go through the penny and doesn’t continue to drill through the vise.

Technique to use when drilling is to drill a bit then ease of drill a bit and ease of making sure you hold the vise securely and don’t let the drill bit to move around.

The drill opposite is a Piller Drill used for various making techniques.
I have chosen it as the easiest way to drill holes in pennies.I needed to wear protected goggles also I wore overalls took anything that could have got stuck or dragged into machine i.e  clothing .

Queen Victoria on a penny from the turn of the century.

Clamp that secured the pennies in place, make sure they are secure otherwise the penny will run up the drill bit.
The Piller drill and drill bit used to drill pennies.
Drilled pennies with image of drill bit used.

Penny with jump ring, this is just a ring I found in the makers lab. I will order a slightly larger ring about 7mm in rose gold. I will attach the penny to the tote bag with crocheted rope or leather shoe lace.

Finished detailing for tote bag to encourage upcycling.

These pennies and also the pom poms that are to be attached to bags need to be soldered as the metal loops are coming apart.

Intaglio Printing

Roller to squeeze out access water out of paper.

Intaglio Printing

Intaglio is the family of printing and print making techniques in which the image is cut into the surface. Lines are sunken into the surface which holds the ink. It is the opposite to a relief print (Lino). The Vintage cast iron machine below is a press for printing I have been wanting to use this for some time and it is ideal for intaglio printing.

Original Puffin drawing from sketch book

Printing Press for intaglio print

sketch from sketch book used in design.

Single colour black Intaglio print.With Original sketch of whale above.

Intaglio Printing press used to create print.

                         Intaglio print using plastic relief , aluminium can also be used.

Intaglio print with water colour added using really thin paper added on top.

This Intaglio print has also used water colour which is fused into paper as it is pressed.
Paper needs to be dipped into water bath and then rolled between two thick water colour papers and pressed using roller.This takes the water out ,however the paper is still damp to go through press.
I have added aqua shading to the intaglio print above. I will be re working this print reducing gap between birds and whales.I will also add more lettering around and make sure its the right way around. Next time I do the aqua shading i will add less paint.
Method used for Intaglio : I chose to use a plastic sheet A5 specifically created for intaglio printing. This is any easy method as you can see your drawing behind and cut into the surface with a special intaglio tool. Dry point clear plastic means you can trace over drawings and then you can go straight into printing. However you do need to reverse lettering so it comes out the right way. 
Aluminium sheets can be used and are better for darker colours than lighter.
Another method is the traditional etching technique using etching zinc metal which is more expensive, it also involves using chemicals and wax. Using wax on top of zinc you then scratch it off. Then it goes into acid to remove a layer of the surface.

Ink used: Using Intaglio ink plus oil mix with a palette knife until mixed well. 

• Using a rubber square add a small amount of ink to intaglio etching, only ink what you have etched.
• Using a piece of scrim fabric roll into a ball, push the ink down into the etching plate. Give it some pressure to push the ink into the etching.
• Take some tissue paper and wipe away access ink.
• Wet your paper in a water bath and dry between some thick paper using a roller.
• Then put through press in between tissue paper and fabric(tissue underneath,then plate, then paper which you are printing on,then more tissue paper.
• Lay fabric on top roll through press using press arm attached to large wheel.

New Intaglio Print

This is a re drawn intaglio plate ready for printing, next time I’m in the print room.

Initial drawings used for initial intaglio print.This print could be reduced in size and printed into exhibition tickets for final MA show.

Image showing ink that was carefully rubbed onto plate, then rubbed off and pushed into etching areas of plate.

Second print with a change in lay out removing unnecessary gaps and writing the right way round.

Stage 1 Lay intaglio inked plate on top of tissue

 Stage 2 before printing place tissue paper, then paper

Journal Podcast

Podcast update on MA Design Project Ecology Evolution

I am adding a link so that I can be part of group tutorial which I am missing due to work commitments. It’s a short update in regard to my current project developments.

Podcast MA Journal update.

Life Cycle Assessment of products from raw material to product distribution, all products have an emissions count. I have chosen to consider these issues when creating my practical work for my MA.To maximize a low carbon footprint and even possibly a carbon neutral footprint for my printing I am creating my own eco conscious natural inks/dyes/paints.

Whale leeping out of the water. Given to me by my nephew , can use this image within my printing.


My project is about ecology issues connected to strategies to reduce carbon emissions and global warming. I am creating visuals linked to a Greenpeace campaign to increase the size of the Antarctic Ocean Sanctuary. Reducing our own carbon footprint is an individual response that collectively can reduce global warming and also plastic pollution within our oceans.

I will be creating a Tote bag with a lino print on the outside with a lining involving a screen print. It will also have some detailing using up cycled recycled materials to add weight to the available choices of reclaiming and re using that can be achieved. I will be mixing contemporary techniques with traditional to morph together  design choices.

The outcome will be a campaign in the form of a product which can clearly reduce single use plastic use. In doing so will reduce plastic ocean pollution and in turn reduce global warming and save our natural ecology of the world and more specifically our oceans that congregate in the Antarctic.

 I have been given this image to use so copyright is available for me to use this image. I am finding it a bit out of photographic choice to actually find Whales locally to photograph.