Worksop Bus Statiom

Worksop Bus Station

Final Manifestation Designs

05/07/15

My final manifestation designs used one old design, from which I incorporated a flower that had caught the eye of the project manager and designer. I kept the flower design the same however changed ot slightly and came up with numerous new designs.

All designs have the flower incorporated into it. Each design was also specifically coloured so that all designs created, when put together, followed the same specifications. This was achieved by using two different opacity percentages. Though my designs have nothing in relation to Worksop,  I have chosen my strongest design to use. Through developmental work, I decided that I wanted to incorporate an element of symmetry into each design.

When I first began to develop the design, I started slowly, changing only slight things and adding only a smll amount of extra detail to see how it looked. I started by adding an arch of circles that decreased in size the father away they got from the middle.

After looking at my first developmental piece, I decided to try to create curved lines, and so replaced some of the circles with some bold arrow like lines.

After the second design, I went back to dots as I wasn't too keen on the lines, however this time, I duplicated the flower and made it smaller, then lined each flower up into the middle. I then added some dots increasing in size and some other small details. At this point I began experimenting with different shapes to make my designs more interesting to look at,

I then experimented by adding more dots, however the achieved effect wasn't something I liked.

Moving back towards the curved lined, I started experimenting with techniques that allowed m to change the type of the line. At this point I began experimenting with a small border, I also continued on with my dot experimentation.

I also began rotating the design so as to see what it looked like, however, at this angle I can clearly see tht it is not symmetrical.

I swiftly moved on from rotating my designs, and once again started incorporating squared and curyng line thicknesses into my designs, However the curved lines acting as a border and dots remained,

Rather than rotating the design, I started to see what the designs would look like in the opposite colours, and if I would like them better,

For this design I incorporated a lot of my previous techniques, such as the flowers, squares and curved lines, however, this time, instead of having dots, I used circles.

This designs uses a lot of angles, and varying line thicknesses, however it is bold.

  Each design I created had a focal point somewhere, and that was usually in the middle of each design.

Bus station

The idea I had was to incorporate both the pumping station and a bus into one piece

One idea consisted of having a reflection of the pumping station in the window of a bus, another was to make a bus using the pumping station.

I then moved on to looking at warping the bus so that it was unrecognisable and abstract, however it would still have some features obvious.

I then looked into creating a brighly coloured geometric pattern using either the pumping station or a bus.

Following on from my experimentation using mosaoc, I then though about creating a bus and then either changing the coloura to the oposites using the colour wheel, or just changing the colours to make them brighter.

Bus Station

Research

Further inspiration

17/12/15

As further research I have decided to look into tattoo designs, particularly by Hannah Snowdon. This is because I feel that her designs have a floral quality, while not actually depicting any flowers. It ties into my previous designs inspired by Georgia O'Keeffe. 

Hannah usually works with Mandala's, which in Sanskrit, means circle. The circle is a symbol of perfection, eternity, unity and completeness.

This design, whoile void of any colour, is bold due to the varying thickness of the lines she has used, The pattern is simple yet beautiful.

Within these two designs, she has used Pointilism, which gives the design tones and shading that are gradiented rather than block colour. The designs are bold due to this and again, her use of varying line thickness. The foremost design I feel has slight resemblance to a flower.

This design lacks any shading and use of varying line thickness, however, focuses on the patterns within. It is a lot more delicate than the previous designs.

I feel these designs are useful due to the floral resemblances, pattern, shape and also because each design has a focal point, which I have been experimenting with.

Other Sources

While this isn't a tattoo, the design of the earring is very similar to the designs she produces. Once again a mandala design, it contains varying line thickness, patterns and has a floral quality.

Worksop Bus Station

Curtain walling design

Design in a specific shape

09/12/14

After listening to the architect, we then began designing the curtain walling in a circle, as you would find most curtain walling, however, we were to experiment with shapes, designs and idea's, that could then possibly expand from the shape provided into something more. The idea is to follow what the architect was hinting at, but add our own twist on it so as to push him out of his comfort zone into something a little more adventurous.

Still following on with my idea of Worksop through the seasons, I began drawing, using the Victorian water pumping station and the Savoy theatre

Because the design was in a circle, I decided to try out a fish lens design.

I then started thinking about having one design that progressed throughout the circles

Using my old design of 'Travelling through Worksop'

After this, I though about geometry: Going against the curve of the circular template.

The first design got me thinking about using Worksop from an Ariel view as a base, so I researched and got a map for reference

After this, I went back to my idea of Worksop through the seasons, however, instead of using buildings, I decided to use iconic flowers found throughout Britain within the seasons. I then settled on using Daffodils, Poppies, Sunflowers and Snowdrops.

The idea was that each of these different flowers broke out of the confines of the circles in one way or form, whether it be the actual flower its self, or something coming off of the flower, or both.

Worksop Bus station

Research

Artists that relate to my work

30/01/15

Bridget Riley

One of the foremost exponents of Op art, or Optical Art, a style of visual art that makes use of Optical illusions, has created many pieces that I had been inspired by to include into one of my pieces. Her use of lines to create an optical illusion is both bold and yet seemingly delicate:

Georgia O'Keeffe

An American artist who first came to light of the New York art committee with her enlarged paintings of flowers that were detailed as if under a magnifying glass. She is recognised as the 'Mother of American Modernism'.

This artist I will be using as a reference to my further exploration and experiments.

Worksop Bus Station

Research and Visual References

Inspiration

30/01/15

For the curtain walling designs, I needed some visual references that would help me come up with new ideas and that would also help me overcome that block that I had reached. My first thought was to focus on the water tower, and, following on with one of my earliest ideas of 'Worksop though the seasons', to have images of flowers found in Britain in each particular season. As well as this, I also wanted to experiment, and create a design that was geometrical, so I wanted a map of Worksop.

I wasn't too keen on the geometry idea, so I began to look into other ideas, such as the water tower and 'Worksop through the seasons'

I focused mainly on the chimney, as that was where most of the detail is, and began to come up with a design

This image shows how I interpreted the style of Art Deco and translated it in my own way when coming up with the water tower design.

The theme of this design in Art Deco, which would tie in with the theme of the bus station, and while the design still needs improving, I feel that it is a very strong idea.

The idea behind this was to celebrate the history within the town and to show that, while Worksop is developing around it, the water tower, built in 1881, still stands tall and proud on the grounds it was built. It's intention is to shine a light on the history that may not be getting as much attention now that newer developments are modernising Worksop

This image I used in particular because it shows the flower in full, and so makes it easier to look at and refer to.

I wanted an image of the flower head on so that I was able to look at the detailing carefully when it came to my design work.

While I already had an image of a Daffodil that was enough to help with the design work, I wanted to see how different species of the flower varied and how the colours may change how it looked.

These images show fully the proportions of the flowers and how the petals look in detail, the first image also shows how the leaves look on the flower

This image is particularly useful for showing the detail within the centre of the flower.

These images I would then refer to for my 'Worksop through the seasons' idea. Each different flower, the Sunflower, Poppy and Daffodil are each flowers that are symbolic to different seasons. I was attempting to make something more delicate compared to the water tower idea. and so added a lot more detail, however, through the designing stages, this design got a lot simpler. However, upon contemplation, I then begin to experiment with the design by making it a lot more abstract.

After looking at this design, I then began to create various other designs with an abstract nature. Using some of the patterns out of the first Semi- Abstract design, I began to see what I could achieve.

While these designs are rather simplistic, the boldness of the lines and the patterns stand out, making them less delicate, but more eye catching.

However, I was still more swayed towards the Semi- Abstract design.

Upon contemplation, I relaised that, while the design was both quite delicate and bold, all of the smaller patterns merged together, and so I set about adding tone to it, which eventually gave it an illusionary feel, with the likes of Bridget Riley, and that also eliminated the merging of the patterns

This design is meant to be a mixture of not being able to determine what it is, and yet obvious as to what it is, making it Semi- Abstract. it is bold and yet delicate to keep viewers looking and interested. the varying boldness of lines and tone is intended to draw the viewer into the design.

Bridget Riley

Bridget Riley is a British artist who is one of the foremost exponents of Op Art ( Optical art: A style of visual art that makes use of optical illusions and are Abstract ). She is known for her drawings and paintings of illusionary art.

To extend my work on the flower design, I will also look into Georgia O'Keeffe, who produces highly detailed paintings of flowers, and to try to produce something that is inspired by her work.

Worksop Bus Station

Further Designing

Meeting with the Architect and Paul Horn

3/12/14

After Paul Horn, the project manager for the new bus station paid us a visit and gave us some rather vague specifications, he then brought in the architect, so that we could then ask any questions necessary as well as have him talk through the architectural design. From this, new aspects of the design were opened, and instead of only focusing on the curtain walling, we now were able to work on and suggest other things, such as maybe the brick work, the clock's design and other pieces of artwork that could be put up once completed. We also have the opportunity to suggest things to the architect and the project manager. The over all theme we are trying to incorporate into the designs we produce is Art Deco and Bauhaus, so as to tie everything in with the design of the building.

Worksop Bus Station

Pitching Idea's

 

Talking with project Manager, Paul Horn

 

24/11/14

Initially, we were asked to gather images on Murals, Graffiti art, other examples of Vinyl Manifestation and wall art, as well as to write down anything within Worksop or the Bassetlaw area that could be used as an idea starter. We were then asked to start developing the any idea's. Today Paul Horn came in and told us the guidelines of the bus station. We had 10 questions to ask him that would help limit and broaden any idea's we had and to give us some sort of direction to go into.

Question 1: Can we have colour?

His initial idea was to have no colour within the design, however, after looking at some of the designs our group had come up with, he then said that it could be an option, however, it wasn't to be too overpowering, and if there was any colour, it was to be minimal so that it tied in with the tonal manifestation and with the interior colour scheme. This also answered the second question.

Question 2: If we can have colour, are the colours unlimited?

If we can have colours they will be unlimited, however, they will have to be minimal.

Question 3: Is there a specific theme?

The theme is completely up to us, as is most of the things we need to consider, however there are limits. preferably there will be no words as the manifestations need to be seen from inside and out of the station. He also said that, if there was a design, it would be good to show where the idea came from and how it had developed. He also said that abstract is a good idea. He suggested that we make a survey and ask the public what they would perhaps like to see.

Question 4: Is the focus more on Worksop or Bassetlaw.

The answer to this is that he would preferably like the theme, if there is one, to be based on Worksop.

Question 5: Would the focus be more on contemporary, past or future Worksop or Bassetlaw?

This is completely up to us.

Question 6: Is there any specific dimensions for the surface area that the curtain walling will be applied to?

There is, however we are still waiting for this information. He also said that he wanted the design to enable natural surveillance, meaning that you should be able to see through the glass to see inside and outside of the building, therefore panels cannot be completely blacked out.

Question 7: How much of the surface area do you need visible?

Once again answered in the question above.

Question 8: is there an option for 100% opacity in areas of the design?

Yes, however if there is any completely opaque area's they are to be minimal. Once again natural surveillance plays a big part in the design.

Question 9: What colour is the backlighting and is there an option for multiple colours?

The backlighting would be traditional white lighting.

Question 10: Are we covering all of the surface area allocated on the architectural drawings?

Yes, there needs to be at least a small part of manifestation on each of the curtain walling's.

Research: Art Deco