Taking a Fancy to Book Illustration

I have been really getting into podcasts lately (a whole post of that is yet to come). One of my favourites, and regular audio accompaniment to the Lea river canal path, is Design Matters hosted by Debbie Milman. I like them for this purpose because they are a good length, well recorded (a shamefully important factor as I struggle to hear most things through my ancient earphones), and Milman is an excellent host. Each episode sees a particular person or group from a field of design interviewed about their career and achievements, in a way which encourages digression into more theoretical discussions. 

Though this series presents a large range of designers from different fields, I do feel that I have heard about many graphic designers, and most notably illustrators. Listening to these episodes, such as the one with Oliver Jeffers, has really made me think about illustration as a career path for me. Obviously it relies heavily on drawing (my life long love affair), along with CAD programs I am already highly confident with. I know I have never really connected with making 2D things, and I never felt destined for graphic design, probably because I never really knew what it was, and it seems to be an element of any other art course anyway. But someone once described to me books as being '4th dimensional'. 2D images and words which exist in a 3D object have the power to capture the imagination and take the person into another world entirely. It is a connection between narratives, images and words which excites me, so I felt compelled to get some illustration focused exhibitions into my calendar, as well as some much important creative work! 

Ladybird by Design - House of Illustration

I was really inspired by this exhibition, as it explained the technically simple and practical approach of the ladybird books, and juxtaposed that with the cultural and social significance the series had upon multiple generations of readers. 

This exhibition particularly focused on those published between the 1950's and 70's, and how the books 'depicted a soft and simple world'.

The books themselves were formed from one sheet of paper (suitably sized for the method of mass printing they used.) This was to work around paper restrictions, so every book had 56 pages and were of an identical size and shape. The illustrations were multi coloured, and vocabulary kept easy for children to read and understand. 

I greatly enjoyed being able to see the original illustrations up close; the vivid colours pop out off the thick card onto which they are painted. I assume gouache is used, perhaps with some oil. The illustrations range from depicting everyday life, to historical scenes, through to fictional tales, all perfect to inspire a young reader. 

I was particularly drawn to the image of a deep sea diving team, as I can imagine the bold colours and stunning composition as making a 5-year-old think; 'That's what I want to do when I grow up.' I also particularly enjoyed the 'Shopping with Mother' series for their illustrations, as they reminded me of Richardson and Ravillious's 'High Street'. 

What I think is most impressive about these books, having viewed this exhibition, reading a few chapters of Ladybirds they had in the final room, is their effectiveness. Working with the 56 page and size set rule, the ladybird's combination of image and word never fails to inspire and excite children, (nor 21-years-and-a-6th-old such as myself.) 

Animal Tales - The British Library

This exhibition gave a specific overview to how animals are used through physical illustrations as well as plot-lines for storytelling. With examples such as Orwell's Animal Farm for 'Animal Allegories', and the Beatrix Potter series demonstrating how 'after Darwin and Freud, neat distinctions between humans and animals blurred', this show provided an interesting socially and culturally aware view on a common theme within book illustration. 

Beautiful binding - from House of Illustration giftshop

I thought it was particularly interesting how animal themes and characters are juxtaposed with words, as they are unable to understand our language. Places such as 'the wild', and even the thoughts, intellect and feelings of animals still remain oddly unknown and unattainable to us. I feel if I should write then I could consider writing with animals in mind, as books such as 'The Bees' exist to be purely adult literature.

In terms of illustrations I liked, I particularly enjoyed William Stobb's for 'Kashtanka - Chekhov for Children'. I would also be interested in reading Garnett's 'A Man in the Zoo' for content. 

Funnily enough, a trip to the gift shop presented to me further illustrations that I adore. These are in the form of the National Railway Museum's 'Travel England' posters, which had been used on the covers of a range of BL books. The illustrations shared vivid and colour qualities with those that I saw at the Ladybird exhibition, but carry a concept relating to place and location, (albeit advertising). I will start researching these images, and definitely refer to them in my next project.

So, two highly inspiring exhibitions down, and two exceedingly brilliant gift shops visited. That isn't bad for a few hours work out in London! I'm taking away ideas to further my work exploring the relationship between image and text, as well as having learnt more about book illustration as a whole. What's next for me? To just keep drawing and keep writing! 

Magazine crush of the moment - Cereal

Cereal magasine, by-line; Travel & Style. Two of my favourite things in one, so the content never failures to please. Communicated through fantastic photos, well written articles, and just a general overall style which epitomises chic cool. Here are some of my top sources of inspiration from this issue.

This is a visual essay focused on part of the Australian coast. So simple yet beautifully done. Good photographs of my work is a must from now on!

Loved the article on the Vitra Campus, a feature describing a creative space. My work is very much spatially informed, so I feel I could create similar pieces on the places and spaces which inspire me.

Clean simple shots of styled pieces. I would like do this with my own work.

Images of workspaces - one of my loves! 

Very much enjoyed with a cup of fresh mint Tea at Lee Rosy's Tea Room, Nottingham!

Day Trip - The National Centre of Craft and Design

The national centre for craft and design, located in Sleaford (in Lincolnshire for all those wait-there's-an-England-out-of-London?! types) is quite the hidden East Midlands gem.  I say hidden, as it only just recently came up on my radar, but it's link with the crafts council and £9 day return ticket to Nottingham makes it a new future firm favourite

The principle exhibition I came to see was the craft's council 'Space Craft' - though the whole building was full of inspiration. From the rooftop viewing platform to the ground floor design and gift shop (essentially the new Tate Modern!), I collected a whole load of photos, drawings notes. I'd probably be leaving with something from the shop too if I wasn't so far into my overdraft...

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Object a Day

The staircase is even a fine thing, with its 'Window Collection' - showcasing Helen Pailing's 'Object a day' installation, featuring lots of fun little material experiments. Like characters or creatures, they have a narrative to them, particularly as the the materials used have been 'found, scavenged, borrowed, purloined or recycled'

Helen Pailing - Object a day

I particularly liked the way the installation used light and space, creating a subjective sense of scales to the works. These could be domestic fish tanks, or on an aquarium scale. The presentation was colour coded - which I can aids the viewer to appreciate the designed nature of these experiments. Though still the greatly varied forms and materials still praise the beauty of material play and undesigned, seemingly functionless  objects. 

Colour coordinated 'object a day' display

It reminded me of the the 'material wall' of my foundation course, which became a dumping ground for unwanted samples, transforming them into inspiration for future years. 

Look at all the lovely creatures!

More about the collection, which 'possesses it's own rich tapestry of meanings and possible narratives' - can be found on her website at www.helenpailing.wordpress.com

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Lesser known architecture

This exhibition was the showcase for Theo Simpsons's ongoing research project that celebrates the forgotten icons of British architecture. As photography exhibitions go, I particularly liked the curation and coherent styling of the images. 

Lesser known architecture - Theo Simpson

The concept and content is simple, the real beauty to this display was the way it was presented. Each framed image stands alone, with no context or title. These exist in the accompanying guide, which uses alphabetical ordering, and contact sheet style images in clear correlation to text to make access to information really easy. This allows the images to speak for themselves at immediate glance, making them more powerful, as the viewer is swayed by notions of function, location and identity.

Along with great curation inspiration, I also learnt something new - that London had a mail rail in the early 20th century. With it's relevance to culture, society and history, it's all hardly 'lesser' architecture, I'm glad someone's putting it on a pedestal.

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Space Craft

This exhibition brings together two disciplines; craft and architecture, considering the relationship between them by presenting work by makers inspired by architecture and by architects that are deeply connected to making. I feel the term 'spatial' connects the two together well, playing on senses and scale. The exhibition quotes Edward de Waal on the subject, who said that when a pot is thrown 'you're making a volume in a very short space of time; you're creating an internal space.' 

As with the previous display, I was really taken by the curation - more specifically the exhibition design - in the form of upright cardboard tubes laid out in a manner to change the function of the space in which these objects sat. More specifically, making it impossible to enter. Rather than solid walls or railings, as motifs of architecture, by using cardboard objects to create an abstract forms of barrier, the exhibition design mirrored the concept and reason behind the display. These tubes came in a variety of shapes and colour detailing, relating more to a craft or making I feel than architecture, playing on the idea of batch and bespoke production.

Space craft Exhibition design

I also had a personal connection with these forms - as they relate to a 3D piece of work I recently made, aptly named 'peg board'. I designed it in order to 'draw in 3D' - making my illustrations and interpretations spatial. Of the many unexpected and pleasantly surprising outcomes, one was that it looked like an architectural scale model, which is why I feel it links to this exhibition design. It therefore could be seen a map, which this space has turned into a reality. I like the way maps offer a varied perspective, so what looks I 'drew' (using elastic bands) looked different at different angles, had different shadows, presented different restrictions in space etc. As I feel this large scale installation version does. I also liked the idea of small changes, and traces being tracked, which relates to the relationship between time and space (perhaps how maps vary). It quite interesting to consider what it would mean to "draw spaces". 

Of the high quality on offer, the individual displays which caught my imagination best were ones which came in a form or used a process that I felt familiar with and interested by. Ute Decker's interesting and inspired jewellery which played on themes of scale and function gives me hope that I could potentially translate my practice into body adornments (I've had many unsuccessful attempts so far.) 'Articulation' is a necklace which has been designed to enable the wearer to play and display it in different compositions on the body. 'In the praise of shadows' describe a set of earring which invite curiosity, playing with scale and light. They pay 'homage to Tanizaki's Classic essay on the aesthetics of shadows in Japanese architecture' - which has gone straight on my research list.

The FleaFollyArchitects' work was perhaps my favourite of the exhibition, I'd definitely describe it as being the most conceptual. It is a shame the actual 'Grimm City' wasn't present, the project was instead demonstrated with a film and a book. The latter cunningly titled 'Grimm city: an architectural fairytale', due to the project being inspired by the Brothers Grimm. The project saw a 'miniature universe' being hand-crafted, like a story-telling architectural model 'translating the Grimm characters into an elaborate cityscape.' 

Stills from the video. Watch it here: https://vimeo.com/102012309

FleaFollyArchitects is a 'spatial storyteller using narrative to invent unique architectural propositions'. The studio describes itself as 'crossing the fields of architecture, design, craft and contemporary art' and highlights 'the importance of making by hands to create original and often surreal observations.' This all obviously greatly interests me as I feel my work crosses the boundaries between art, craft and design. 

The presentation of a video (showing their final outcome) and a published book also resonates strongly with the way I wish to start presenting my work. As a commission piece (as noted in the video), this style of conceptual design is one in which I wish to work towards within my own creative career. With intentions to write more about my work, the fairy-tale style of the book was very interesting. This is maybe more engaging and conceptual than an essay or report (being short stories), and also featured 'plates' (black and white photographs with poetic text underneath). Rather than being a report on the process of design, it explains specific visual elements of it in relationship to the inspiring concept of the Brother Grimm tales. So starting with the end outcome, and explaining backwards, rather than in a chronological progression (a strong contrast to this blogpost huh.)

The pleasantly familiar yet colourfully striking work of Anton Alvarez was a great companion for the new-to-me range of designers and crafters. Alvarez's thread wrapping machine is potentially one of my greatest inspirations - and I have made the most of every opportunity presented to see the work which he has created with it. Alvarez's current practise 'focuses on the design of systems and the creations of tools and processes for production on a domestic and architectural scale'. The piece on display here was an arch, which perhaps isn't quite as loveable as the little stool that I saw on display at Libby Sellars last year (not with such a little price tag unfortunately.) Though it is interesting to the diversity of the outcomes this process can make - in terms of scale, form, colour and function. 

The ceramics of Adam Furman were definitely of a medium that I have no interest in pursuing (clay is not my friend). However I found the reference to 3D manufacturing processes, and the fun quirky sculpture-esque titles he had given his formed outcomes interesting. (Think memetotem, kitschpot and scrollascaper - spellcheck loves them...) I suppose the real draw of my attention was the fact that he had developed these, as the well as the culminating piece 'Identity Parade', as part of a residency for the Design Museum in 2013, which is a position I would love to find myself in. 

Jewellery: Ute Decker. Ceramics: Adam Furman. Wooden furniture: Simon Jones

Finally, the work of Simon Jones in the form of space saving self-assembly furniture sparked interest in me as I feel my project and practise connects quite strongly to tools, and toys. I'm interested in the functions of these objects; their interactive properties and the fact they directly benefit human capabilities. Toys particularly interest me, as I feel they are tools for developing the brain, both intellectually and creatively. 

This got me thinking about how self-assembly furniture is like a toy for adults. It's problem-solving, engaging, and often comes with wordless instructions. These instead rely on symbols and diagrams for construction, in the same way Lego and K-Nex often did, which rely on some kind of Semiotic understanding. I'm quite drawn to the term 'construction', as I feel this relates to me drawing practise. There is also a novel approach in the fact that toys and tools are to be re-interpreted. You can imagine the fun things you could create if you assembled IKEA furniture incorrectly (though you might need some extra nails...) 

To conclude and reflect upon the exhibition Space Craft, I certainly gained a lot of inspiration and further research sources to take forward with this current project. As an opportunity for 'Personal Exploration', it's a large build up for what I see myself taking forward next year. I've realised this year that I like to use my creative process to investigate things, as if using design to research. So I have quite a conceptual process, (ideally) leading to a well designed outcome. I feel the works exhibited are excellent examples of this. All in all I need to make sure what I'm doing is fun and interesting, so that I can enjoy it and hopefully what I do will get featured in similar future exhibitions. 

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Kate Bajic: Lichenology

This exhibition focused on one specific designer/maker, Bajic, presenting examples of her material research, design process and final outcomes. As a jeweller, I particularly liked her use of concept, linking to the biological traits of Lichens, as well as her material research, similar to scientific experiments.  

The concept behind the final pieces was explained through writing, though the brooches were definitely beautiful and interesting objects themselves. For the brooch 'Xanthoparmella semi - viridis' (vagrant lichen), the physical form of the Lichen has inspired the design as well as how it's used in research being symbolised. In this way I feel like this pieces could be used educationally. I also feel this dual function of displaying physical and symbolising information links these pieces to maps. 

As I enjoy learning about Bajic's design process, it's also important to notes that her work is as much about being product to sell as well as display in an exhibition. This is a way of working which I find difficult to imagine myself doing, however obviously I really enjoy her work. One of the pieces on display, the 'Flourish Brooch', is explained to be a collaborative piece, designed to be part of an American exhibition. This is a process I would enjoy, though it is nice the thought of having my own range of well designed objects which I enjoy to make and sell (for hopefully quite a lot of money) alongside this statement work. The reason I find this hard to desire is because I feel like design and craft are two markets which can be very wasteful, exhausting and saturated with rubbish. I'd really need to feel like what I was doing was good and important, therefore I see myself aiming more towards the conceptual-product-displayed-to-inspire market, rather than the manufactured-to-own.

Though in saying that I feel like Bajic has got it right. I feel like what she is doing is original and inspired, due to her consideration to concept and extensive material experimentation.  

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Closing Thoughts

I will accompany my concluding thoughts on my project that I've developed today with an image of the gift shop (one of the good ones!) . I suppose the question is 'Is this the dream?' Seemingly successful graduates of my course have their work here, as do designers that inspired me to choose the course I have, such a Donna Wilson. I always wanted to make work that was adored, and celebrated, though I'm now starting to question whether I really want my things to be owned, or more considered inspiring and referenced in future art/craft/design projects. Beautiful and interesting is the key, which has to come through initial concept as well as process of making (particularly see Anton Alvarez for the latter.) I'm strong at exploring the former, though I still feel like I need to refine the latter, which I feel like I am with this project, and by considering 'drawing in 3D'. Understanding my end function is also a big leap forward, and I've realised I am really keen for what I do to be interactive and engaging. I feel like I've gained a lot through really evaluating and reflecting upon previous projects, as well as discover new work that inspires me and presented in a way that I aspire to. Which I would say describes pretty much everything I saw today to an extent.

To conclude on my day out at National Centre of Craft and Design; I had a lot of fun. I think that's the most important thing right now, having fun with my work and doing what I want. I know I want to return again soon once the current exhibitions have rolled over. Hopefully anyone else who gets the chance and needs/wants/enjoys some inspiration will do too.  

Das Kino, Nottingham - Restaurant Review

Foreword: Not sure whether to title this review with Das Kino or Oscar & Rosie's; the pizza professionals in residence in the kitchen. But together they have most definitely achieved something enhancing to the city, and delicious!

Das Kino is a relatively new to Nottingham ping-pong bar, with a great youthful trendy vibe, reflected in their quirky rustic interior styling and the crowd it attracts every night of the week. (And I'd recommend heading there in the week, it gets rammed on the weekend!)

Interior styling

Oscar & Rosie's 'pizza as it should be' is renowned in Nottingham, and not without reason! Having been previously based in a takeaway only kitchen in downtown I can only hope this residency is long and prosperous. I intend to visit again! 

The food; We ordered the Brooklyn sausage party 14" to share (basically a pepperoni pizza) with Mac and Cheese on the side. It was all very (yet nicely) filling - I'd be amazed if one person could finish a whole one! The tomato sauce was rich and the cheese was perfect - not too oily but stringy and moreish. The pepperoni was a good safe choice however the menu boasted a lot of others I'd love to sample. 

Food!

Of course the secret to pizza I feel is the base - and this was right up my street. Very thin but perfectly cooked, which is not only pleasant to eat (the texture almost melted in your mouth!), but also you know you're not just getting filled up by cheap bread! 

The Mac and Cheese was very very  good M&C (simple yet effective). As with their pizza list they have a great range of sides and lunch specials (a little lighter.) Alternatively they also sell pizza by the metre, if you feel like utterly and totally devoting yourself to becoming a pizza fiend. (I wouldn't blame you)

Rum and Raisin DIY cocktail

The drinks; admittedly I haven't explored as much as the drinks menu as I might have liked - but they do have a great selection of draught beers! (Czech Krusoviche anyone?) I had a fantastic DIY icecream float cocktail the first time I visited. It came with a scoop of icecream, a shot of rum, ginger beer and chocolate raisins. - shame I couldn't fit another in after the pizza 

Check out Oscar and Rosie's web page here (with links to the menu and Das kino's address) - http://www.oscarandrosies.com

Happy customers

I've told my pizza obsessed sister I have found her a little slice of heaven in Nottingham... I'll definitely be back.

Knitwear: Chanel to Westwood - Exhibition review

With next season's knitwear proving a bit hit at the recent London Fashion Week, 'Knitwear; Chanel to Westwood' displays a concise yet informative history of the prominence of the textile, showing it's rise from kitsch housewife garment to statement-shouting catwalk-construction (and a lot of things in-between.)

With stunning architecture and  regularly changing high profile exhibitions, The Fashion and Textiles Museum does well to promote the importance and influence of design to a diverse audience. Young and old, first-time and returning; visitors come in a range of sizes but all with one essential linking thread. That is an appreciation for fashion and fabrics, whether that means loving it or just understanding how large and significant of an industry it is. 

The exhibition is curated to show the progression and changing styles of Knitwear through the 20th century, up to the current day. From the knitted swimming costumes of the post WWI 'sportives' and the recycled garments of Make do and Mend initiative, up to the fashion rebels leading us into the new century, the displays are informative and cover much ground within knitwear's contextual history.

I personally very much enjoyed the

'Artistic Afternoons' section depicting luxe loose clothing from the art deco 30's. The garments feature "metallic yarns, deco colouring and exotic details", all presented in a way to accentuate their simple yet elegant style. I was drawn to the juxtaposition of weighty colour blocks against intricate pattern.

I was also drawn to the 1940's american knits, with their ultra glamorous and luxe quality. Featuring smart tailoring and embellishment, they contrasted strongly to the prudent war-time and gaudy folk inspired garments (though I will still always have an appreciation for Fair Isle Knits!) 

One element of the exhibition which linked the swiftly changing and vastly different eras was the display of fashion photography. From vintage family photos to fashion shoot, this medium truly demonstrates the versatility of the image. Whether the image depicts a kitsch happy housewife or a prim and proper model, they all ooze a sense of glamour, being well dressed and styled. One can happily state that Knitwear is safe fashion, and Jerry Hall's photo shoot for Vogue in 1975 proves it can be dam sexy too.

Uni-sex outfit by Comme des Garcons

Examples from big name contemporary designers take prominence in the latter part of the exhibition. Pieces by Vivienne Westwood, Zandra Rhodes and Julien MacDonald line the walls, each with high cultural significance and stylistic factor. Pushing boundaries with processes and materials to make innovative looks is a clear theme within modern fashion

I made an illustration of a MacDonald top on which he layered transparent yellow acrylic on top of knit in an exciting manner.

Visionary Knitwear, a separate part of the main exhibition, displayed designs which reinvented the concept of knitwear. Many of the garments featured came from graduate collections, as they are unafraid of bending and breaking rules, similar to their Haute Couture counterparts.

I particularly liked the fact that a design graduate from my own university (Rory Longdon) was featured next to a Julian MacDonald number. The designs themselves were exquisite, and this style of curation goes to support the notion that current and future knitwear design can still do innovative fresh things, still unseen and yet done by the big names on the catwalk.  

Knitwear has done itself a favour by developing a stigma of being traditional and kitsch as it sparks more and more radical design. Hopefully this transfers to highstreet with more definition, to give push knitting further out of the craft category and more into that of high end design. 

I feel this exhibition is a must see for anyone that knits, that enjoys the history of fashion design, or even just appreciates beautiful clothes.

And of course, I visited both the gift shop and the Teapod café, both of which I'd recommend too!

Design Museum - Designers in Residence and more

I always tour the design museum working from the top down. Aside from being a logical way to view it, my primary draw has long been the annual Designers in Residence exhibition, situated on the top floor.

I was happy to see the show had a lot more space for itself than last time. I feel the curation is always excellent and I gain so much from the fresh ideas of these raw talents. 

The first and foremost design which stood out to be was that of James Christian. An architectural design, what captured my attention was very much the fun colourful models and diagrams which presented his ideas.

This speaks to me, and was reoccurring theme in the show, as it shows how a design can be so much more than a singular object. When dealing with an idea regarding design, one can print, make models, write a report, make a film, a play etc. 

Christian's design in particular demonstrated a kind of all encompassing approach to design, considering aesthetics and how they have the potential to improve peoples lives.

(Some thoughts I had whilst drawing;

- Some things get smaller as they move away, some things get bigger

- The negative space between what we can see and what we can't)

Ilona Gaynor's design played with the theatrics of a court case - e.g. having a script/ the line between real and fake. The execution and presentation was again good, though what spoke to me most was her interview in the short film accompanying the show.

She spoke of "Translating ideas" - the idea that research based investigations could be taken into an essay - but think about all the other ways! Such as 3d, 2d, films, plays etc. This obviously speaks to me a lot - I value research a lot in my projects - design can really take any shape or form.

Though being less inspirational for the now, I must give credit to the other two designers. I'm sure I will draw on them for a future project.

Torsten Sherwood's ingenious toy design (making building dens a reality) is something I wish existed when I was younger. A simple idea which has so much potential - highlighting how good an opportunity this competition is for young designers. 

Patrick Stevenson-Keating's design aims to highlight something which goes completely unnoticed which we all use; the design of how money works in today's world. An interactive installation of a fake bank takes up his portion of the exhibition space. A fun idea and well presented through a series of accessories. Fresh and quirky ideas like this are the ones that thrive and get designers noticed.

So overall I (once again) greatly enjoyed the Designers in Residence show, as it is a platform for new talent and radical ideas to reach the public in an un-watered down, commerce-reliant way.

... So it's fair to say it is a massive contrast to John Lewis 'How we live now' exhibition, which highlights the importance of designed everyday objects.

In a way it seems perverse to include a henry hoover in a museum display (they may well have knicked it from the cleaners cupboard) but it's always good for studying and practising designers to recognise the incredible and rapid way certain designs have evolved. 

This is very much the kind of science my lecture series dealt with. So though not as fresh as the DinR, inspiring and interesting all the same (and innovative for their time.)

I hadn't known what to expect from the Louis Kahn exhibit, and as primarily urban architecture I can't say it spoke to me greatly. But it was a good contrast to the bright fun proposed housing that I had seen upstairs. What was different? The patterns/ the colour/ the concept?

I was glad they dedicated a fair section to his research and influences - displaying his impressive pastel drawings showing his appreciation of colour. Also a section was dedicated to 'Travels' as research, with drawings, postcards and stamped passports collected framed and displayed. 

Philadelphia architecture was discussed - which I briefly visited this summer. Though of the images on the walls I most enjoyed Kahn's traffic studies (concept diagrams are always far more interesting in terms of illustration than real ones.)

Inspiring quote; "When the work is completed the beginnings must be felt" (Louis Kahn)

Though the style of architecture didn't do it for me, I was greatly inspired by elements of Kahn's design and research process. Firstly, the importance of folding paper in design. And secondly, the intricate, technically drawn and modelled designs of unbuilt buildings - which still had a presence to inspire others with future designs. This presents the idea that nothing is wasted, down to a simple note or sketch. This is a notion I need to maintain in my own practise. I think it will do much to improve my confidence.

So I made my final descent down the stairs very happy. Goals, ambitions and aims floating around my head. (I will go to the RCA! I will be a resident designer!)

Maybe that's a bit far fetched to be thinking now, but one note I made was;

"I'm sick of designing teapots

There is something huge about us"

The design of the knot is inspirational - these things come from the simplest places. An idea is nothing without confidence behind it, and a drive to make it something, whatever form that something may take 

And as ever, one of the best bits about a museum, I very much exited through the gift shop. (I personally think the Design Museum has one of the best!)