#specialistdesign

[quantumintellectnetwork]

No better time but now for saying hi and showing myself off to the world #JustBeingBraveTodayHey. Hello #tumblr. My name is André Snyman I am a optimisation specialist for all material digital, a creator, permanent digital Explorer, social media enthusiast, #TIKTOK knows my rhythm and Facebook find me attractive. Instragram - to many celebs - I dont fit - #LaughOutLoud. However from my side it's a privilege to also be present on this beautiful and historic platform. Regards André Snyman GM QuantumIntellect Network

Andre snyman @snymanqi #snymanqi #quantumintellectnetwork #templates #template #memes #instagram #design #follow #like #graphicdesign #love #webdesign #storytemplates #meme #l #business #f #art #marketing #instagood #branding #smallbusiness #instagramtemplates #youtube #trending #memesdaily #explorepage #d #creative #photography #explore #website. #SpecialistDesigner. #CapCut #Filmora #Canva #following #followers➕ #4upageシ #fypシ゚viral #tiktoksouthafrica #blessedmessexpress #followed_by_fan #fouryourpage #fouryourpage #tiktokviral #followers #follow #fyp #foryoupage

[ellapurnelltextiledesign-blog]

Visual Sensory Textiles- finalising

The above screenshot captures my four final length designs, which will also form my degree show piece. These lengths have been printed onto silver vinyl, (discussed and pictured within previous posts) to provide a mirrored effect. The silver vinyl has a backing which can be peeled away so that the lengths can be stuck to a space or wall to produce a wallpaper effect, therefore they are typically large wall stickers. In regards to the degree show they will hang exactly as they are pictured, in this order but with less space between each length. The general concept is interactive wallpaper. The silver vinyl visually represents a distorted mirror effect, and aims to automatically draw eyes in to determine the movement the person and the material creates together. Alongside this, the material is silver and shiny with patterns traced atop its surface, therefore the want to touch and feel may also be apparent. The durability of the vinyl allows the pieces to be handled in fairly non-delicate ways, therefore it is practical for tactile sensory needs. Amongst the silver the colour of the flowers and shadows are slightly more subtle than in the images above, however this means that the closer you are physically to each piece, the more clearer the details within the design become. Again this aims to engage the target audience in seeking out the colour and detail by physically bringing them closer to it, engaging them further in each piece as a whole and potentially encouraging them to touch and feel, and make use of the sensory qualities the design work holds. 

The setting in which these designs would be appropriate has been addressed within previous posts, but they would typically be suitable within a sensory room environment, as well as a hospital setting. Last week I watched a programme on BBC iplayer called ‘Hospital’, and in one episode they showed the ceiling of one of Nottingham University Hospital’s Children’s wards, which was covered in bright, vibrant, large scale flowers. It made me think about how clearly I could envisage one of these vinyl designs in that exact setting, and how much difference having them on the wall, or even on the ceiling, would make to this kind of environment. The effect was really something, and the children took so much notice of the art work. 

In regards to sensory rooms, https://thehamletcharity.org.uk state on their website that their sensory room ‘is an appropriate space for students who need a place to go where they can have minimal visual and auditory distraction.The space and equipment offer opportunities to stimulate learning and engagement which in turn promote independence and choice. Sensory integration activities can be brilliant as relaxation tools for individuals with all sorts of complex needs, including autism. Our sensory room has a wide range of equipment including a bubble wall, switches, vibration pads and much more. Visuals constitute the most diverse set of features: the room incorporates a projector that casts entrancing patterns, fibre optic interactive lights, coloured led lights, ball lights and a large bubble tube, which helps to create a calming and tranquil environment and can help to relieve stress and anxiety with its colourful gentle bubbling.’ [https://thehamletcharity.org.uk/our-services/young-adults-18-29/sensory-room/] Through reading the description The Hamlet Charity provide on their website, and through spending (literally hundreds) of hours in both of their sensory rooms, I can imagine perfectly, exactly how these pieces would fit into this kind of environment. I can see how the effects of these pieces could be enhanced if they were placed on a wall in front of a projector, with their flower patterns projected over the top of them, alternating in movement. I can imagine that the effect of them would be changed again, by projecting or shining different coloured lights onto the silver surface of the vinyl. Art and design engages all of us, whether we have a disability or not. We are all automatically drawn to art, because it gives us something different to look at every time and there are so many possibilities for change. Design is always visual, and as human beings we can’t help but let our senses take over- sight being one of them. So by putting art and design into a sensory room setting, and going extra lengths during the design process to ensure it provides the most appropriate adaptations possible for those with disabilities, learning difficulties, and/or visual impairments, as well as sensory processing disorders, means that this kind of art work in a sensory room could only be successful. By aiming to promote engagement, play, physical and visual interaction within these settings, with the chosen target audience, this kind of art work may aid social development, alongside play and communication skills. Whether this happens through engaging in conversations with individuals about the art work on the walls, or whether it is simply through touch, sight and interaction. It gives an opportunity for individuals to become involved in the art work together, sharing its visuals and engaging in sociability.  

Again this final collection when provided within the correct setting, could be suitable to either gender and any age range amongst people with learning disabilities. 

[boutiquelecabanon-blog]

Un petit tour chez @rbcmobilier pour s'imprégner des nouveautés avant les vacances ! . . . #deco #lyon2 #rbcmobilier #specialistdesign #ambiancedeco #decoration #nouveautes #interiordesign #cubeorange #new #soonholidays #mobilierdesign #newprojet (à RBC Mobilier)

[mathewbraydecorativearts-blog]

Studio Peregalli! So much to love about this room! #mathewbrayandmatthewcollins #studioperegalli #interiordesign #design #specialistdecoration #specialistdesign #interiordecor #interiorinspiration #architecture #trompeloeil #bedroom #paint #decoration

[podapsiweb]

CTS-D Certified Technology Specialist-Design Exam Guide

CTS-D Certified Technology Specialist-Design Exam Guide

CTS-D Certified Technology Specialist-Design Exam Guide by Brad Grimes

Book Description – CTS-D Certified Technology Specialist-Design Exam Guide

Product Details Paperback: 400 pages Publisher: McGraw-Hill Education; 1 edition (April 19, 2016) Language: English ISBN-10: 0071835687 ISBN-13: 978-0071835688 Product Dimensions: 7.3 x 1.4 x 9.1 inches

Download CTS-D Certified Technology…

[ellapurnelltextiledesign-blog]

Context images- one way of finalising the project

Within previous projects and throughout the duration of my time at NUA, I’ve struggled with envisioning my designs within a particular context. I don’t have a reason as to why I’ve struggled with this in the past, (most probably because it involved photoshop). I had simply wanted to create art work- not products. It wasn’t until the last term of my second year when I realised that being able to put my designs into context, meant that they would come alive. They would become something real, something that shops might sell and people might use. It gave my design work a purpose. I think the context I chose for this project [Weighted Textiles], helped push forward the act of using my designs within it. I had no interest in seeing my designs on cushions or curtains, stationary, or even fashion items. These things just didn’t excite me, and they already existed on the market in a hundred thousands different designs- there were already aesthetic choices available in regards to these kinds of products, so people’s options weren’t restricted in any way. I make no judgement, we need artists and designers who want to create designs for these products. I myself am particularly fussy when it comes to design and aesthetics. But for me, as a designer, it wasn’t where I was headed. 

There was a personal reason as to why I chose this context to work towards within my brief, and this helped me connect with the project on a first level basis. Albeit some people informing me that I was too interconnected with my work, (something I didn’t realise was possible, and definitely didn’t view as a negative). I knew individuals who used these exact products, and who benefited massively from their use on a daily basis, 24/7. I’d seen first hand the importance of them, and also how they improved the quality of people’s lives. When I first began researching them I was surprised by how few decorative and aesthetic options there were online, and I knew that this project could be huge. Of course there would be many technical issues to figure out, I’d have to create prototypes and research how to do this if I were to actually make them. However, I decided to begin by focusing on creating bright, fun, designs that could be used as fabrics for these products. The above images show the original photograph of the product alongside my edited contextual version, and to me the difference is quite surprising. I loved how these bland, one colour, products, (which looked as though they belonged in a hospital) had turned into these bright, flowery, visually interactive products. Surely they were more appealing, and straight out nicer to look at, whilst still benefiting the individual in exactly the same way. I knew which one I’d rather wear, use, or have in my bedroom. This was the difference that I was trying to achieve, and as soon as my designs were in context, I knew I’d done it. Whether the actual product was there or not, the Photoshop images explained the project exactly how I wanted them to, and they helped make obvious what I’d been attempting to achieve within the brief, and within the project as a whole. 

Referring back to previous posts in which I wrote about my target audience, looking at the final product collection made me think that these designs were more likely aimed at young girls and young women, perhaps apart from the weighted lap pad which could be appropriate to both genders, however of course there is no rulebook! 

[Each original image is taken from https://www.sensorydirect.com]

[ellapurnelltextiledesign-blog]

Photoshop development- putting designs into context

As I’ve probably mentioned previously within other blog posts, I began my third year at NUA having completely avoided Photoshop as much as possible, only using it when I completely, and absolutely had to. I simply didn’t see it as part of my practice. However all of my peers began getting really good at it, and as a result, their work looked great and completely professional. As everyone else’s work around me developed, I wanted mine to as well. I was pleased with my development amongst other aspects of my work, such as how far I’d come with my drawing skills, and my ability to put line and colour to paper, but I wasn’t pleased with my development in regards to digital design. As a result of these thoughts, I pretty much decided that this was what my third year would focus around. If I couldn’t get good at this thing I’d been avoiding for the past two years, then what had I really learned about the digital world of modern design during my time at NUA? The answer- nothing. 

To me, Photoshop was this massively complicated, cleverly engineered software system, and it really freaked me out. All I had to do was open the software up and look at it, and straight away I would want to cry because of how many different symbols and numbers I could see on the screen. There were SO. many. numbers. and numbers just reminded me of Maths, which I hated, and which also made me want to cry. I did literally force myself to use this software, and I told myself I would get good at it whether or not it killed me. The thing was it was no good someone showing me what to do, and me then copying the work and miraculously remembering how to do it. I could remember whole paragraphs, word for word, from books I’d read once or twice ten years previously, but could I hell remember anything in regards to using Adobe Photoshop. 

I ended up spending hours (god knows how many), sitting with various people. My peers, tutors, friends from other courses. I made them sit me down and go through each and every process I wanted to learn, and I wrote down every single step and repeated it over and over again until I’d cracked it. I’d have to ask them to show me again, three or four times, before I actually started to understand the software, and before I could actually get it to do what I wanted it to do. (I’m pretty sure I drove every single person mad who tried to help me). I kept notes on my phone of the step by step processes, and I’ve just used them to refer back to every time. Slowly but surely my confidence grew, and every time I perfected something, a new challenge or a new way of doing something would crop up. 

This process pictured above is one of the most challenging I’ve come across throughout third year, and was made further challenging mostly by my choice of images, brief and context. I needed to put my designs from my Weighted Textiles project into context, and everyone kept advising me to search for white coloured versions of the products online, which just didn’t exist. I’d got this far and I definitely wasn’t going to give up, and aside from this I felt like the only way of concluding and explaining this project fully, was by putting my designs into the correct context. I sought help from a Photoshop specialist at NUA, and she showed me (first image) how to search on Google Chrome for the largest possible version of this product image on the web. It involved searching through each available folder within every source linked to a specific image, until the largest KB version appeared. The larger the image, the higher the quality, due to the fact that the resolution could be more easily adapted. She further proceeded to show me how to turn the image white, by selecting the specific part of the image the chosen design needed to appear on, creating a clipping mask, and then adjusting the levels, brightness and contrast, and the hue and saturation, all the while keeping these on different layers and creating clipping masks to link them to the same part of the image intended for edit. The act of putting the design in is simple, and was done by dragging the design file into the one containing the edited online image, and again clipping it via clipping mask to the intended content. Next, another levels layer must be added, and the levels must be adjusted so that the quality of the fabric within the original image can be seen through the design. Lastly, the final image shows how adjusting the black and white levels changes the colour of the shadows within the image. 

To conclude, if I had an image of a product which was already coloured white, the first half of this process would not be needed. I couldn’t find any of these specialist weighted products in white, my guess as to why is because white is probably the most impractical colour for something which is used for practical, and tactile use on a daily basis.

[Each original image is taken from https://www.sensorydirect.com]

[ellapurnelltextiledesign-blog]

Whilst doing some general research on weighted products and their beneficial uses, I came across this page on autismspeaks.org, which is basically a library containing a description and a link to every source used on their website, with the aim to guide families and/or service users in the right direction to finding the products they need. It contains links to family run businesses, professional companies, articles, all of which sell or provide personal insights into weighted blankets, vests, toys etc. and the positives and negatives that come with using them. 

https://www.autism-products.com is one of the first links available, and is run by a woman who’s son is on the autistic spectrum. She claims to have started her business so that others ‘don’t have to search as hard as we did to find products for our child.’ She sells almost every item you could possibly imagine, all of which aid sensory needs. The options on her website are endless, and include objects such as weighted toys, weighted balls, weighted shoulder and lap pads, weighted ‘halos’ [https://www.autism-products.com/product/halo-weight-2-2-pounds-yellow/], and weighted ‘hall passes’ [https://www.autism-products.com/product/weighted-hall-pass-2-pounds/]. Many of her weighted blankets can be made to order in different fabrics, which again provide sensory stimulation due to their tactile qualities. Some examples of the materials she can provide blankets and other weighted products in are fleece, lace, cotton, and corduroy. Available on the website are also neoprene compression vests, [https://www.autism-products.com/product/neoprene-compression-vest/] which are described as having ‘deep pressure input, (similar to being hugged).’ It is further explained that ‘from a sensory point of view they can help to calm and focus a child, by giving a greater sense of body awareness. Compression vests are designed to provide constant, even pressure to children and adults with autism, sensory processing disorders, hyperactivity, and more.’ 

Another product available on this particular website is elasticated wrist weights, made using soft fleece. [https://www.autism-products.com/product/stretchy-wrist-weights/] They are elasticated so that there is ‘no noisy, scratchy velcro closure’, and they are to be ‘worn on the wrist to provide weight bearing and strength building benefits.’ ‘Feedback shows that they are effective for children with autism, sensory integration disorders, and many other neurological challenges. The luxurious fleece fabric is soft to the touch yet durable enough for every day use. Filled with plastic poly pellets, and machine washable.’  

Also available on the website are bean bags in a variety of different colours, sizes and materials. They are made using fleece, nylon, canvas and cotton, and are all filled with non-toxic plastic poly pellets. Different fabrics are used for tactile and durability reasons. 

http://consumercarellc.com/category/BH.html is one of the other many links available. This particular page on the website informs the reader of a product called ‘The Big Hug’. The Big Hug is described as a ‘ergonomically designed’, with an aim to ‘calm, reorganise, and redirect the energy of children and adults with autism, particularly those who may benefit from deep pressure therapy.’ There are videos and descriptive diagrams and photographs which demonstrate the exact use of the product, and it appears that the actual design is what counts rather than the material used, due to the fact that it focuses on creating deep pressure rather than providing a sensory, tactile experience. The item also does not contain weights of any kind, but rather seems to provide pressure from how tightly the velcro straps are, and how it is adjusted. This is just another of so many products, all used for similar reasons for the same target audience my final term projects are aimed at. 

https://www.squeasewear.com are another company which sell ‘deep pressure vests’, however their vests do not provide deep pressure through the use of weights. autismspeaks.org explains on this link that ‘Squeeze is an inflatable pressure vest that is hidden away inside a hooded top. No weights are used; hug-like pressure is applied to the upper body simply by inflating the vest with air.’ The general idea is that the vest is worn deflated, and when the individual experiences feelings of anxiety or stress, they can immediately inflate the vest to receive deep pressure. Therefore, it is dissimilar to a weighted vest due to the fact that it is not constantly, evenly, providing pressure. This is a great example of how you simply cannot generalise these kinds of products to an overall group of people. Different types of products will have more benefits to different types of people- it depends entirely on the individual and their needs. With this particular product, there is no mention on the website of which materials are used, only that they are designed with a ‘soft fabric front which enables the individual to move more freely’. [https://www.squeasewear.com/shop/pressure-vest/]

[ellapurnelltextiledesign-blog]

The two designs above are the first to contribute to the concept of sensory, and/or interactive wallpaper. With a new concept has come a new drawing style, which I prefer due to the fact I think it compliments a professional looking repeat. The image at the bottom shows the length samples I had printed, the sample on the left is a digital print onto silver foil, and the sample on the right is a digital print onto silver vinyl. These were simply experimentations of which background material would work best, and on conclusion as a wall hanging or installation, the vinyl provides more durability and strength (considering it will be touched and used for interaction this is what it needs). The vinyl proves to be much more suitable at the moment in comparison to the foil, which is a much thinner material and which scratches easily due to the delicacy of its nature. The vinyl also works as a sticker, therefore the whole length can be stuck to a wall (or door? or ceiling?). Looking at the lengths from an explorative, sensory point of view, they definitely provide visual stimulation due to the silver backgrounds, which both envelope the leaves well and in the way in which I envisioned. The silver carries a mirrored effect more than other colours, therefore the need to experiment with different colours isn’t really there- I’ve already achieved what I wanted with the silver tones as the background of each design, and by doing so have made the designs suitable to the context. The idea is that these pieces will be suitable in a variety of environments, including sensory rooms, hospitals, respite, school, or at home, and that they may be suitable to any age range and to any gender. They are designed with their aesthetic qualities in mind, as well as their need to be sensory and visually stimulating in one way or another, whether that be through their materials, the design, or both. 

[ellapurnelltextiledesign-blog]

Aside from weighted blankets, there are other weighted sensory products that exist on the market and which are designed for the same purpose. The images above are taken from Sensory Owl, which is a website that sells different kind of sensory products. (https://sensoryowl.co.uk) The first three photographs are of Sensory Owl’s ‘Weighted Everyday Vest’, which is described on the website as an ‘every day design for comfortable use’. These vests are individually made to order, and have ‘internal loading pockets’ which allows the weight of the vest to be changed and adapted, to suit the individual’s needs. On the inside it also has additional adjustment stripes for tight wrapping, so that it can safely be strapped tighter around the body- this allows adaptable pressure. The weight modules, (as described on the website and as seen in the third image) are natural gravel. Sensory Owl sell this vest in sizes XS to XL and in a variety of different colours. The bottom two images of the post are of Sensory Owl’s ‘Weighted Therapy Vest’, which they describe as a ‘multiuser vest’, which is designed to come in handy when there is more than one user. For example, this type of vest can be used amongst a number of people within a therapy session, or in a school or hospital setting. This vest also has large outer pockets, unlike the everyday vest, which allows for a heavier load. It does however use natural gravel for its weights, similarly to the everyday vest, and is made individually to order variable to colour choices. 

As part of my research, I decided that it would be beneficial for me as the maker, and for the project as a whole, if I were to see whether there were any other different kinds of products on the market, other than weighted blankets. Thinking ahead in regards to the degree show, it might be an option for me to create one or more sensory products using my designs, and depending on practicality and time management, much thought would need to go into which products I might create. I would also question what would happen to these products after the degree show is over. The circumstances may also depend on where and if I can source the correct supplies, for example poly pellets are easily sourced due to the fact that they are not expensive, and can be bought online almost anywhere. However whether their use can be compared to that of glass pellets, natural gravel, or led pellets is a different matter. If I am to make a finished product then it needs to be of high quality, it needs to be practically safe, and it needs to be designed using the correct materials. All of these aspects that come into play when considering creating a product, will only prove to be successful or not through creating prototypes. (Next step!)

[ellapurnelltextiledesign-blog]

Existing patterns on the market- 

Above are six images taken from three different websites, all of which sell and provide information and advice regarding weighted blankets and their uses. (https://www.sensorydirect.com/classic-weighted-blanket.html) (https://www.sensacalm.com/collections/custom-weighted-blankets) (https://www.mosaicweightedblankets.com/colorful-artistic/) 

The aim of this particular piece of research is to discover which textiles (in this case patterns), are already on the market and successfully selling. Given my work aims to contribute to this already existing aspect of specialised textiles, it would benefit the development of my project to know what I must either aim towards, or avoid, in regards to colour, practice, materials, and the overall design of the product. Obviously it is beneficial to have a variety of options available on the market, considering that I, on a personal account, may dislike particular patterns and designs, it doesn’t mean to distinguish the fact that another person might like them- my work within this project will only add to the options which are already available. 

In regards to pattern, I’ve had a little debate going on in my head since I’ve been designing for this project. Do I stick to bright, fun, visual motifs which enhance visual sensory input? Is this the correct way to go about designing for something that aims to soothe and calm anxieties? Is it better to be designing patterns which are visually stimulating, and will this benefit individuals with autism, rather than providing customers with colourless, visually diminishing products? I came to the conclusion that the answer to this debate is that it depends, entirely, on the individual and their needs and preferences. The only kind of brief I’d given myself in regards to the actual visuals of the designs for this project, was that I wanted them to be ‘luxurious’ and fun, in one way or another, as well as being suitable to both children and adults. Aside from this, another part of my brain was telling me that these products are specialised, expensive, and designed to be of practical use for years and years. So for me as the designer, why not focus on the aesthetics? 

Next to pattern, I also wanted to consider my materials carefully. The examples pictured above are all constructed and printed using types of cotton, typically because it is a breathable and comforting fabric. Most of the product’s descriptions state that they are machine washable, therefore increasing practicality. Much like a duvet, weighted blankets may often be used at night time due to the fact that they can help aid sleep, and for individuals with learning difficulties or complex needs (as such the kind of people who will benefit mostly from discussed specialist products), the practical qualities are of higher importance. Sampling within this project will also include printing onto wipeable, waterproof and synthetic fabrics. This will enable me to experiment with printing processes and colours, and will be a different approach to practical aspects and possibly comfort regarding different types of materials, thus experimenting with design aspects which will either be successful, or non-successful. 

[ellapurnelltextiledesign-blog]

Adding colour to the collection; switching things up; printing processes

Much like within the interiors project, this project too, had lots of white space. This was something I now felt I needed to address, due to the fact that the designs were going to be put into a children’s wear context, and I’d figured that for children, white is not the most practical colour nor is it the most fun, therefore I chose to experiment with some different coloured backgrounds, amongst some repetitive mark making prints. My aim was to include colours that were on-trend, not too visually startling, and that fitted into the collection which aimed to suit both genders. The two designs above were ones I deemed successful within this criteria- and further below are the fabric samples I had together at this point. I felt the collection was coming together in a rather quirky way, and most of all I was having fun playing around with these designs! Again, I chose to sublimation print, having stated in previous posts my issues around this printing process within the interiors project, this time my designs had no problem in regards to sublimation. Before, my designs had contained block colour and shapes and had appeared almost ‘fuzzy’ when sublimation printed, resulting in a poor-looking quality print. However with these designs, the lines were already hand drawn, so if anything that element was maintained and improved when sublimation printing onto fabric. 

In regards to materials, I chose to experiment with using polyester jersey and polyester microfibre, both of which would be suitable within the context I was aiming for- the jersey would be suitable for a pair of leggings and a t-shirt, and the microfibre due to its soft and warm feel, would be suitable for a sweatshirt, all of which I was hoping to make with the help of a fashion student. I was completely satisfied with the printing results of the designs onto these fabrics, and I ran a small test through the digital printer too just to test the outcome. However I found that the practicality for this project was greater met through sublimation printing, as the digital printer could print onto a smaller range of fabrics, and these didn’t lend themselves as well to the context. Due to the nature of the digital printer, the fabrics often have to be quite tightly woven to be able to go through the printer without getting stuck- therefore my stretchy, soft materials were not going to go through as easily as a cotton. 

Referring back to the new designs, I’d kept in mind the research I’d undertaken within the last project and within my dissertation, in regards to the layout of the patterns. I’d tried to put together the designs whilst keeping some very quietly visually stimulating, and others quite bold and repetitive. I wanted to be able to vary my designs towards a variety of individuals, whether they were under-stimulated by visuals or over-stimulated. This is also another reason as to why there are so many colours included within the collection. 

When writing my dissertation and under taking research, I found Temple Grandin’s book, The Autistic Brain, to be of great guidance, and a useful source of information. She states not only her personal accounts with autism in the novel, but also the facts, which are undeniably helpful when trying to understand the disorder, as it is so complex. In Chapter 4 titled Hiding and Seeking, she lists some crucial information for understanding some characteristics of autism and sensory processing disorders: 

How to Identify a Person with Visual-Provessing Problems:

- Flicks fingers near the eyes

- Tilts head when reading, or looks out of the corner of the eye

- Avoids fluorescent lights 

- Sees wiggling print when reading 

- Dislikes multicoloured floor tiles 

Practical Tips for People with Visual-Processing Problems: 

- Get Irien lenses or experiment with different pale-coloured sunglasses lenses.

- Print reading materials on tan, light blue, grey, light green, or other pastel paper to reduce contrast, or use transparent coloured overlays. 

How to Identify a Person with Tactile Sensitivity: 

- Pulls away when hugged by familiar figure

- Takes off all clothes or wears only certain articles (wool and other scratchy materials cause the most problems)

- Can’t tolerate certain fabrics or textures

Practical Tips for People with Tactile Sensitivity: 

- Sensitivity to scratchy clothing is more difficult to desensitise, but try washing all new clothing several times before letting it touch the skin; remove all tags; and wear underwear inside out (which gets the seam away from the skin) 

These lists are of course Temple Grandin’s experience of autism, and are based on research she has carried out and on other individual’s she has met, that does not mean that every single person with autism responds in the same way. Autism is a spectrum disorder, therefore the severity and/or complexity of these points listed above, depend on where an individual sits on the spectrum. However, without talking to every single person on the planet with a diagnosis, I can base my projects around the research that I do find, in books, magazines, online, or by having conversations with people. One thing this information does point towards is that to someone on the autistic spectrum, colour and pattern are important. On autism.org.uk, there are a couple of lists that state the effects of over or under sensitivity to the senses. These are hugely useful to refer to when creating patterns and designs for autistic children, however they do go to show that just one collection, unless it holds a huge variety of different designs scoping pattern and colour, will never be entirely suitable to every single individual with autism. However, if my collection can be beneficial or suitable in any way, even to a minority group of children with a diagnosis, I will have achieved my brief. 

Sight - Under-Sensitive 

- Objects appear quite dark, or lose some of their features. 

- Central vision is blurred but peripheral vision quite sharp.

-  A central object is magnified but things on the periphery are blurred.

Over-Sensitive 

- Distorted vision - objects and bright lights can appear to jump around.

- Images may fragment.

- Easier and more pleasurable to focus on a detail rather than the whole object.

Touch - Under-Sensitive 

- Holds others tightly - needs to do so before there is a sensation of having applied any pressure.

- Enjoys heavy objects (eg weighted blankets) on top of them.

- Smears faeces as enjoys the texture.

- Chews on everything, including clothing and inedible objects.

Over-Sensitive 

- Touch can be painful and uncomfortable - people may not like to be touched and this can affect their relationships with others.

- Dislikes having anything on hands or feet.

- Only tolerates certain types of clothing or textures.

[ellapurnelltextiledesign-blog]

Concluding the project; Having conversations

For a six week project, it felt like two. So for my sanity’s sake I was glad I hadn’t faffed around, and that I’d just sat down and filtered lots of work out. I’d spent days playing around on Illustrator, coming to different conclusions regarding my colour palette, the shapes I was using, and the repetitions I was putting my motifs into. 

In the past, I’d always been concerned about having a final collection of designs, and everything had always had to be perfectly refined. I’d throw all my shit work away, and usually then be left with a pile of work that looked horrendously minimal, whereas actually by throwing the stuff out I’d thought was shit, I’d actually got rid of everything that mounted up to the good stuff. With regards to context, I was open to interpretation within this project, and I’d decided not to worry myself with the things I thought didn’t really matter. After a conversation took place with one of my tutors, he made me see in a way, that context wasn’t particularly important. As he draped my interior samples over his arm and across his shoulder, he told me that they could just as easily be suitable within a fashion context as well as an interior one, and that as a designer my ability to be able to create things that fitted into any given context, was a positive attribute. Therefore to conclude the project, I chose a number of samples from the bigger collection, to be digitally printed, so that they could form a smaller collection- I wanted to show recognition of thoughtful thinking behind a more refined collection, that aimed to fit the brief perfectly, and which could also be openly interpreted to fit any context, whether that remained interiors or not. Also for me, and a target audience who are so generalised and individual, having no given context other than the fact this was an interiors project, appeared to sit nicely within the conclusion. 

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Copper leafing for a project in Cadogan Square for @renebarownick. #mathewbrayandmatthewcollins #interiordesign #interiors #bespokeinteriors #copperleaf #design #surfaces #surfacedesign #interiorinspiration #interiordecor #specialistdesign #specialistdecoration #studio (at Vanguard Court Studios)

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Hessian Wallpaper designs. #mathewbrayandmatthewcollins #hessianpaper #bespokeinteriors #wallpaper #design #interiors #decoration #walldesign #wallfinish #specialistdecoration #specialistdesign #artist #art #interiordesign #interiordecor #londonstudio #somersetstudio (at Vanguard Court Studios)

[mathewbraydecorativearts-blog]

Glass reflections. #mathewbrayandmatthewcollins #glass #wedesignandmakeglass #specialistdesigns #specialistdecoration #interiordecor #interiordecor #interiordesign #decoration #studio #handmade #bespokeinteriors #bespoke (at Vanguard Court Studios)