As development for our thread concept, I began making basic digital posters to see how well it would work on-screen. I began by simply adding lines crossing over and into one another. I then experimented with adding type. My initial experiments were only in black and white as we hadn't agreed on a colour scheme yet.
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Another experiment was to create a clipping mask, placing the text over the background design. Although this was a similar style to the one we were hoping to create with the thread, the effect was not really bold enough.
From this, I began experimenting with different line thicknesses to get an idea of how thick we wanted our thread to be. I tried the same experiments using pink and turquoise on both a black and white background. I then showed these to Jamie to get his opinion.
Here is a mock-up invitation I created using the same concept and the text provided to us in the British Council brief pack.
One of our other ideas was to hand-stitch over the type used for headings and way-finding in our exhibition. We went to the market to look at the range of string, thread and wool on offer. We bought two colours: fluorescent orange, and charcoal grey. We thought these two colours complemented each other well and gave us a good starting point experimenting with the bold colour orange, or keeping the colours basic and sticking to grey, black and white.
While Jamie focused on the poster, I continued to stitch the type. Most of my experiments were with the think fluorescent orange over black text. I wanted to see how different stitching methods would look. Some of the experiments are shown below:
After discussing the identity of Dressing the Screen: The Rise of Fashion Film, we agreed to use the colours pink and turquoise. We had considered using red and blue to represent Russia and Britain, but Jamie pointed out that this was too cliche and stereotypical - something the brief had specifically asked to avoid.
We had discussed making our own backdrop design to be used consistently throughout the exhibition identity. In order to keep the thread idea consistent, we revisited the idea of stretching thread across a backdrop, similar to the way I had constructed the lines of stitching on the type shown above.
In order to do this, we measured out the dimensions of all the designs in Illustrator (the arrow, the numbers, and finally the main frame. I measured and marked where each nail needed to be. For the frame we decided to space each nail 2cm apart as it was a large surface area. For the numbers, we reduced the spaces to 1cm as they were much smaller and needed the thread to almost cover the black template beneath it.
For the threading, I began on the number 4. I tied the pink thread to one of the nails to secure it in place. I then proceeded to wrap the thread around all of the nails, making sure the thread crossed over itself as much as possible, covering all areas of the number.
The next step was to do the same with the blue thread.
As the blue thread was noticeably thicker than the pink, I decided to add another layer of pink thread so the colour was balanced more evenly, and the number itself looked fuller and more 3D.
Jamie applied the same process to the arrow.
Once we were happy with the outcomes, I continued with the other numbers.
With the fame, we decided it was best to leave a reasonable amount of white background showing and it would work better when we were editing the design with type. It also meant the the overall design wasn't too heavy or over-done.
Photos from the final shoot in the photography studio
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