Designer Research – Kelcey Towell

Kelcey Towell

Kelcey Towel is one of the inspiring designer I found thanks to Irene. Her mention of look on Art Thread earlier today was pretty much the most useful website I’ve been told about next to WGSN.

I found Kelcey by accident, even now, and its only been about an hour, I don’t know how I found her, but I do know that thanks to seeing her work and noticing the links that she had on her profile, I was Abel to find other designers that have influenced my mind to think of different approaches to designs.


I found one of Kelcey’s designs to be really interesting. It was a book that has blocks of colour, some font, and then some little drawings on a acetate page between the two. The minimal colour and the use of substrates interested me to look closer, and reaffirmed the idea of layering in my own collection.

I also like that Kelcey is a typographer; she creates her won fonts and designs which I again find really interesting. I’m thinking of how I would go about creating a font for my collection, one that complements my designs but is also different enough to stand out.



Karma Collagraph

I did managed to make a plate yesterday. I said I would and I did! hooray.For this plate I combined textures, font and embroidery to see the different effects that they would produce. I like the results that I got, and weirdly enough, I prefer the scrap paper which I used during the print, to the ones printed on the good paper I had sourced! Crazy right, but I think theres something messier about and much more fluid about the accidental prints. 

I experimented with print runs; which basically means that I printed it quite a few times before re-inking. I did however label what order they were printed out in so I would be able to know how many times the plate need to be printed for whichever effect I preferred. But as I said, I actually like the mistake prints better, which doesn’t bode well for recreating them. I love the effects that the collagraph prints create, being able to see the actual texture of whatever it is you use, so much so that you think you’d be able to feel it, but I’m not sure how well collagraph would work on the materials I’ve been using, like fabric and acetate? I think thats something I’ll have to look into if the IG guys seem keen on that technique. Friday however, God willing I my foils actually get delivered tomorrow and not tossed back into the post van!, I will be focusing on printed more samples in the morning so that I have a greater range of surfaces an colour ways that I can embroider into in the afternoon. 

Acetate, Metal and Wood Oh My!

This morning I was thinking about what surfaces I wanted to print on. Paper is easily available but after the first few samples, it can get a bit boring. Don’t get me wrong, I’m a paper lover! I love a good piece of card on any day, but for my collection, I want to experiment (!) and I want it to be different.

I don’t know what made me think of it but I suddenly had a really interesting idea, why don’t I print on acetate.

I went on a screen printing course last year before Christmas and in order to make sure your paper lined up with the print, they did a test print onto acetate (incidentally, Steve did this on Monday I was just too busy lino cutting to notice!). So already I knew that it was possible to print onto acetate, but why not do it purposefully, as a design rather than a guide? With this little adventure in mind I went to find Steve for reckon.

Not only do I now have acetate to print on, I also have a cloudy acetate material; along with the prospect of printing onto foil sheets, laser cutting glass tiles, black acrylic and wood! Now tell me that doesn’t sound exciting?! I plan to take every aspect of my theme seriously, that includes the mirrored and metallic surfaces, as well as the high contrast monotones and bold bright colours –  as well as hand printing.