EVALUATION - Cath Kidston

The main thing that I have learned during this brief is that it can be extremely difficult to emulate an existing brand aesthetic. Cath Kidston prints are so unique that I found that I initially struggled to design something that would effectively work alongside the brands existing products. It took quite a bit of experimentation to finally find a way of working that I felt suited the range of conversational designs, and unfortunately this slowed down the entire process of what should have initially being a short term brief.

I also learned the difficulties of working towards such a specific target audience. The brief had so many requirements in terms of whom the design should be aimed at, that it was hard to cater to every aspect. However, this did in fact help me gain a better understanding of the context and environment that the print would be found in, which in term aided my concept. 

For this brief, I was able to undertake quite a lot of primary research, as the theme was something that was personal to me as well as the brand itself. Living in the countryside meant that I was able to gather a range of photographs and sources that I could then use as a reference tool for my illustrations. For example, I was able to get a range of images of hens, cockerels, flowers and shrubbery. This allowed for a stronger connection to the brief, giving me a better understanding of the visuals and the personality of the brand.

As well as this, I was able to visit a Cath Kidston store, as well as other stores that stocked a range of products from the brand. By doing this, I was able to see the type of environment in which the print would be sold, evidently surrounded by similar products including vintage items and craft. By seeing the products in their context, I was able to apply the finished design to appropriate products, including women’s fashion and homeware.

In terms of strengths, I am actually pleased with how well the print fits alongside existing Cath Kidston designs. Although similar elements have been taken from other conversational prints, I feel that this shows I had the ability to replicate the brand aesthetics to create a unique and nostalgic design. This allowed me to explore different ways of working with illustration, applying my knowledge to a new approach.

In terms of weaknesses, I feel that I could have improved on my mock-ups. This is a skill that I have still not mastered, and I feel that the end product would have looked a lot more professional if I was able to apply the design more effectively to a range. Although I have picked appropriate areas to explore, such as technology and crockery, this is an area that I need to improve upon in the future in order to showcase my final prints.  

CATH KIDSTON - YCN submission proof

Proof of submission to YCN for Cath Kidston

CATH KIDSTON - colour scheme development

The brief states that it is looking for three different colour schemes, all of which should be in a stepped out pattern and a tile repeat. Things I need to take into consideration are:

- what colours are relevant to the brand

- how will the colours work across a number of formats

- should any of the colours stay the same

- whether or not to keep the number of colours the same

- suiting the colours to the audience

- suiting the colours to the imagery - will it look odd if some of the illustrations are certain colours

Exploring colour schemes

I began to explore some possibilities using feedback giving to me during a crit. It was suggest that I look at spring shades, including blues, yellows and pinks in order to create variation. Some possible colour ways were put together, which could then be applied to the pattern to see how they would work. 

Colour experimentation

Applying the new colours to the pattern was a long and painful process. It was taking me ages to select all of the individual bits and change them as there was so much going on. It was until a peer who was doing the same brief mentioned to me that there was a way of creating colour groups so that a particular colour could be changed all at once. This speeded up the process massively, however some areas of the print refused to alter which was stressful. 

I started to develop a print with blues and pinks, however this turned out to look rather sickly and very reminiscent of a child's playroom. I felt that it wasn't relevant enough to the audience and it also didn't work well alongside the other colour scheme. 

I also explored a different range of orange tones, which I then showed to a number of my peers. They all agreed that it wasn't very successful as it didn't really stand out or create impact. 

As these warmer colours weren't working, I then started to develop something a bit cooler that created a nice contrast with the reds and pinks, which would allow a different visual to be formed. It was agreed that the use of these colours were a much needed contrast to the original pattern and it would work well alongside it. It also offers the pattern in a less stereotypically female colour scheme. 

Chosen colour schemes

These are my three chosen colour schemes in a standard tile repeat. Overall I believe they are successful and reflective of the Cath Kidston brand. They would work alongside existing prints, covering the theme of Cath Kidston's English countryside childhood. The colours allow for variation in the print, creating different moods and settings.

CRIT - tutor led crit

Cath Kidston

- Something you would definitely see being sold within a Cath Kidston store
- Relevant and reflective of brand
- Suits target audience
- Consider colour schemes for other variations
- Spring colours, blues, yellows

Harry Ramsden's

- Strong illustrations
- Reminiscent of Victorian era, etchings, anatomical
- Product range - napkins, placements
- How could it be applied to the environment? Different fish sizes on walls and placemats?
- Illustrations throughout the restaurant due to strength
- Really cool
- Strong logo
- Consider uniforms, aprons?
- If it's going to be expensive food then it might as well look it

CATH KIDSTON - mock up development and pattern application

Before creating the rest of my colour schemes, I thought I would look at developing some mock up products to see whether or not the pattern could be applied effectively to a range of different formats and scales. This would then evidently allow me to make any necessary changes before exploring colour.

Homeware

Stationery

Fashion

CATH KIDSTON - pattern development

Now that the theme was decided upon, I could begin building up a range of different illustrations that could be used within the print. I wanted to create a similar aesthetic to Cath Kidston's existing patterns, and therefore would have to develop my designs without using a stroke. 

It was extremely difficult to begin with to replicate Cath Kidston's own visuals. I would usually design using a stroke, or hand drawn lines, therefore this was quite a challenge for me. It was extremely frustrating to try and build up something similar but once I had one illustration, then the rest became a lot easier. Whilst designing, I also had existing prints up as a reference point. 

I also undertook primary research for this brief so that I could use existing objects as another form of reference (some object, such as the dragonflies and terrariums were too tricky to find). This way, I could work directly from the source and get a better feel of what I was working with in terms of visuals and shape. I purchased a number of different flowers so that I could directly work with these for my floral inspiration. I also gained first hand images of hens and cockerels as we have a number of them at home. This allowed me to "get in the zone" in terms of getting a country lifestyle feel for my designs. I could then recreate these images in a Cath Kidston style. 

Illustration references - primary and secondary

Floral reference

Cockerel and hen reference

We have both cockerels and hens at home as my Dad organises and takes part in shows, so this was something that I could take first hand primary reference from. This was helpful as it gave me something to directly work from and gave me a close relationship to my designs. 

Terrarium reference

Dragonfly reference

Some selected images from google and pinterest, some primary reference images.

Main illustrations - cockerel, hen, vegetables, terrarium, flowers, dragonflies

I initially chose this colour scheme in order to target the intended female audience. It was reflective of vintage, Cath Kidston designs and would work well across a number of different formats. A maximum of 12 colours were allowed so I stayed well within this limit so that the print didn't become overloaded. Three colour schemes were needed altogether also therefore I didn't want to overcomplicate things later on in the developmental stages.

I began by developing my initial illustrations which I created digitally using the paint blob tool, the pen tool and my reference images. It was easier to work straight on screen as this allowed me to play around with a more "painted" or "watercolour" effect. I also didn't want to be working with a stroke either so this seemed to be the best route. I didn't want to directly copy Cath Kidston's style, however it would still need to work alongside the existing prints. I tried to develop a quite playful and loose aesthetic.

Illustration Details

Next, I began to develop more of a conversation within my illustrations so that a pattern could be built up. In reference to Cath Kidston's existing designs, I began to add in scenery, such as clouds, grass and shrubs. This was relevant to the setting and would help pad out the print to create something more cohesive. 

Pattern Development

Now that I had the imagery I was going to work with, I could start building up a possible pattern. This seemed slightly daunting to me as I'd never worked with a conversational print before where each element was very prominent. To help get started, I returned to my research to help inform my design so that I could gain a better understanding of layout and scale. 

This is the initial pattern that I developed using the illustrations. Unfortunately I don't feel that it is very effective at all, and the print seems extremely sparse. The hearts aren't something that work within the design and I also feel that the clouds should be removed. I spoke to some of my peers about how they felt it could be changed and they noted that I should try working within a smaller format so that everything was more cohesive and together. This would give me less white space and would fill up the surroundings. 

Change in Direction

Now that I was working in a smaller space, I felt much more comfortable in developing my designs. It started to come together, and I was able to build up more of a conversation by including bigger areas of grass and other garden based illustrations.

I slowly began adding in the main illustrations into spaces where they fit comfortably. Admittedly, I did really struggle with this. Although I was happier with how it was coming along, there was still a struggle in terms of piecing everything together so that nothing looked out of place or so that there wasn't any white space. 

I wanted to make the initial part of the pattern design a rectangle so that it could then be built up into a step repeat pattern and also just a tile repeat. There wasn't too much worry about the edges however as I felt that I could work in more areas of grass once I had started to create the repeats. This would make it much more seamless. 

Overall I was content with my final design. I felt that it had vastly improved from the initial stages and I was pleased that it had developed so far from the previous print. This has been a tricky brief for me from the beginning, although it is one that I assumed I would work well with. 

Pattern Repeat

Using the rectangular print, I then simply repeated the illustrations below to create a pattern. Any blank areas were filled in with grass to make the overall aesthetic more cohesive. I  am pleased with the finished print and believe that it is reflective of the Cath Kidston brand, and could work well across a number of different formats including stationery and fashion. The next step will be to develop some colour schemes.