critical journal (3rd year. Project Two)

DESN 3566 Qing He 200741088

Brief

Market Research • •

Collection One: Chinese style Collection Two: Japanese style

Development • •

Collection One: the symbolism of Chinese traditional patterns Collection Two: the five elements

Final Outcomes • •

Collection One Collection Two

References

Brief The project will be divided into two collections which are Chinese style collection and Japanese style collection.

The design outcomes will be put into interior market.

The resources in visual research include online pictures, magazines, videos. These resources will be used in own practice works.

The Chinese collection is related to the dissertation which is talk about the influence of the symbolism of Chinese traditional pattern in contemporary Chinese pattern design; the collection will investigate the symbolism of the traditional pattern and will combine with contemporary style to achieve the aim.

The Japanese collection is mainly inspired by Japanese traditional pattern and the five natural elements which include fire, rain, wind, thunder and snow; and the aim of the collection is also to investigate the combination of the traditional style and contemporary design.

• Contemporary Chinese design – inheritance and combination The emergence of contemporary Chinese design is that the western culture entered China after the Opium War, thus, the new things were forced to accept. After the confusion and anxiety of the change of people’s attitude to western culture, Chinese designers combined the traditional culture and the western culture to develop Chinese design; hence, the contemporary Chinese design formed.

Fig 1.

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In research, a variety of the combination of Chinese traditional elements and contemporary style is shown. For example, the interior design that shows in fig 1 and fig 2 is inspired by the style of ancient Chinese interior design, such as the engraved backrest and table and decorations, the patterns and textures on these engraved furniture, and the Chinese ink painting style; the traditional elements are added in the contemporary furniture to create a simple but classic effect. For another example, the design work in fig 3 mixed traditional color and Chinese engraved pattern with contemporary style to create a modern effect.

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Fig 3.

The inheritance and combination also can be found in other products in interior market.

As the work made by Xueming Lin (fig 4), an interior designer in China, Xueming considered design a kind of office table that without drawers and heavy chairs, which inspired by the paperless office. The table is made of two panels, with two cylinders that can storage belongings, space under the chairs also can place personal things, and the purpose of the design is to provide convenience and liberty to people. In the combination, Xueming has not adopted the complicated elements of the traditional design and is not limited by the traditional culture, as he said that “I chose the simple but elegant elements from traditional design and combined with straight lines to show the spirit of eastern aesthetics�.

Fig 4.

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The engraved table mat in fig 5 and fig 6 only combined the straight lines and geometric motifs together but has a strong visual effect and shows a simple and classic Chinese style, that the textures on the table mat looks as similar as the Chinese words.

In brief, the contemporary Chinese design shows the inheritance of Chinese traditional culture and the combination of Chinese culture and western culture; and, the designers are not limited by the traditional culture but chose the typical and specific elements and combine with the contemporary style. Besides, the description of Chinese ink art (fig 1) or other elements that has varied forms such as firework and cloud and mist is a kind of style in contemporary Chinese design; the method of the description is unlimited, and the idea of the description is creative and has many possibilities, because designers can describe these elements according to their own visual research and the understanding of Chinese traditional culture.

• Chinese style in interior market Fromental - Chinoiserie style

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Comparing with Chinese ink art and the engrave style which is mentioned in previous part, the Chinese traditional pattern is not abstract and simple; and the natural things such as flora and plants, bird, insect and fish is the main element in Chinese traditional pattern.

But, in contemporary design, the traditional pattern is combined with contemporary style, that showing the development of the contemporary design and reflecting the aesthetical standard and concept of contemporary people. Like the Chinoiserie collection of Fromental, which shows a variety of Chinese style wallpapers with bright colour schemes. Through the pictures, the Chinese traditional motifs are combined with contemporary style to create a elegant effect. Although the motifs that made by high quality painting skill are complicated, the solid coloured background created a contrast effect that not only highlight the motifs but also avoid the heavy and complicated effect for the wallpaper.

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The Chinoiserie collection also has light and quiet colour schemes except the bright colour schemes that are aforementioned to make different selections to people. And, different from other pictures, in fig 16, the traditional motifs are simplified and only retained the shapes to create some black textures to show an abstract effect, which is also a kind of combination of the traditional style and contemporary style.

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Fig 22.

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These pictures are the patterns of the wallpapers in the Chinoiserie collection. As it mentioned before, the main elements of the patterns include bird, insect, fish and flora and plants, that shows the traditional Chinese style. But, after investigated the motifs and the colour scheme, the combination is found. In fig 19, the flora that enwound on the bamboo is not belong to the Chinese traditional pattern; the motifs in fig 21 is simplified in a certain extent; besides, the light colours are added to the colour scheme of the patterns and the change of the colour saturation is shown.

The innovation of the traditional pattern gives a new interpretation to Chinese traditional style and is more suitable for the contemporary market.

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Capture 5

FUANNA – contemporary Chinese style

Excepting the wallpaper, the combination of Chinese traditional style and contemporary style also can be seen in the pattern design of bedding. Such as the patterns of the products of Fuanna, a Chinese interior bedding company.

Flora motif is the common motif in Fuanna’s products, according to the examples of the patterns that are shown below, the flora motif is described in different colours and style. Also, according to these examples, the combination of Chinese traditional culture and western style can be seen. As it in fig 33, the pony, which is a kind of specific flower in China, is described with jacquard style instead of traditional colors to show a modern effect. In fig 34, the contrast color such as blue is added on the flora motif to increase the layering and to correspond to the colors on peacock motif; besides, the white color is also used on the flora motif to make a three-dimensional effect and to accord with the style of contemporary design. In fig 35 and fig 36, based on the traditional color and style, the flora and leaf motif is added with white and gold color that showed a three-dimensional effect and jumped out of the frame of the traditional culture. In fig 37, based on the background with traditional color, the embroidered pony motif is decorated with different kinds of colored threads, which creates a contrast effect to the red background and make the pattern become interesting. The motif in fig 31 is described by water color, it shows a simple and elegant effect. And, in fig 32, the gradual effect is shown on the abstract geometric flora motifs through the different brightness and saturation of the colors to create a contemporary style.

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AIRLAND – contemporary Chinese style

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As similar as the style of Fuanna’s products, the another example of contemporary Chinese style pattern design is shown in Airland’s beddings.

Through the pictures of the products, the flora motif is also a general motif of the pattern, but the other elements are added in the pattern such as butterfly and the frame-shaped motif.

Fig 41.

Fig 39.

The flora motif in fig 42 is similar as the motifs of Fuanna’s products, it also uses different colors to create a threedimensional and contrast effect to the flora motif and increase the layering of the motif.

The pattern in fig 44 is more complicated than others because of the tight arrangement and the layered effect of the motifs; and, although the color scheme of the pattern is based on the traditional colors, the light color that on the motifs is not only add the western style to the pattern but also avoid the busy feeling which is caused by the tight arrangement.

Fig 42.

Fig 43.

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Fig 44.

Fig 45.

In fig 43 and fig 45, the butterfly and frameshaped motif is added to the patterns except the flora motif. In fig 43, the butterfly motif bring a different color to the pattern and decrease the boring feeling of the pattern. And the frame-shaped motif in fig 45 describes a good combination of the Chinese style and western style, that the frame-shaped motif is inspired by the frame of windows or the engraved shape of the traditional furniture, and then it is combined with the western style flora motif to create a modern effect on the pattern.

• Chinese traditional color theory: five-color theory To describe and accord with the theme of the collection one which is the Chinese style better, and also in order to show the connection of the traditional color and the color scheme which is mentioned in previous parts, the Chinese traditional color theory is explained in this part.

People named this color system as “five-color theory�. Chinese five-color theory related to Chinese fiveelement theory that include earth, wood, water, metal, and fire.

Red Red represents fire and is a usual color in Chinese traditional pattern, because it symbolises good fortune and happiness; this color is used in weddings and festivals in China since ancient time. In addition, the walls of many buildings such as palace and temple and the clothes of officials also use red colour because people believed that red color can exorcise evil forces.

Yellow Yellow represents earth and it only be allowed to use in royal supplies in ancient China.

Cyan Cyan represents wood and it symbolises vitality, happiness and equity. In fact, ancient Chinese people generally called green and blue color as cyan, because of the difficulty of differentiation in their thoughts.

Black Black represents water in five element theory, Ancient Chinese people believed that the world is black before generated, so black color symbolises decency and nobility.

White White stands for metal. This color is usually used in funeral in China because it symbolises death, so white is a taboo color. However, white can represents purity, wisdom, dignity, auspicious in Tibetan Buddhism.

• Color forecast – interior market Based on the 2016 color trends of interior market and the color scheme in previous research and connected with the Chinese traditional color theory, I select one of the color trends as the main color scheme for the Chinese style collection.

13 Fig 46.

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These pictures are the alternative colorways of Fromental’s wallpapers which is aforementioned; and they are related to the interior color trends and also the trend I chose for collection one. The scheme that the solid color matches with gradual or light color or contrast color will as the reference of the color theory for collection one, because the effect that the color schemes created is show the combination of the Chinese traditional style and contemporary style; besides, this kind of scheme can highlight the main motifs, and the contrast color can make a strong visual effect to the pattern.

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15 The color trends also can be seen in the color schemes of Fuanna and Airland. The combination of the traditional color and contemporary color is the main style in Chinese contemporary design, that the bright color such as red will not too old-fashioned if matches with light and contrast color, because this kind of color can decrease the saturation of bright color; besides, the different brightness also can make the bright color and solid color jumps out of the old style to create a contemporary style in the design.

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• Contemporary Japanese design – combination and wabi-sabi

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The development of Japanese culture is based on the continuous impact and influence of foreign culture; the quintessence of the foreign culture is absorbed and digested, and then combined with the Japanese traditional culture to create a unique and specific culture. This mode is also reflected on the development of Japanese design. At the beginning of the development of Japanese design, the designers were try to copy the concept that can reflect the western lifestyle into their designs, obviously, the effect is incondite and superficial. As the Japanese design continued to mature, the designers found that the combination of the traditional culture and foreign style makes the design works become unique and specific, and get the concerns in the world.

This unique aesthetic consciousness of Japanese design is named “wabi-sabi”, which means simplicity and nature, as the examples in these pictures that shown in this page and the next page. In fig 64 and fig 65, the utensils are only decorated with simple textures or engraved with simple waves to show the natural appearance of the material and create a quiet and elegant effect to people.

The utensil that made by Osumi Yukie in fig 68 is shown the texture of the wind through distort the original shape of the mental ware and imprint the irregular wave lines on the surface; this kind of technique that describes the invisible thing by using visible abstract textures create a simple but strong visual effect.

Besides, the textures of the metal ware in two colours (silver and gold) also show a mottled effect which accord with the concept of “wabi-sabi”.

Fig 66.

Fig 67.

In fig 66, the combination of different geometric motifs on the different parts of the bedding create an interesting effect to the whole design; and, the gold color of the pattern highlight several motifs that make an interesting effect to the design, and the appropriate space of the pattern shows a typical Japanese style.

The lamp in fig 67 that made by Jo Nagasaka is inspired by jellyfish, thus, based on the shape of the jellyfish, Jo use simple textures to create this abstract and flexible shape, which perfectly describe the “wabi-sabi” style.

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Fig 68.

• Japanese style in interior market Bowls and covers simplicity

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The “simplicity� style can be found widely in the interior market. Like the example in fig 69-71, the bowls with white background are only decorated with sakura motif and geometric motif to show a elegant feeling.

Although the color of the bowls is similar as Chinese blue and white porcelain, the motifs bring the style back to Japanese.

The cover of the washi (Japanese paper) in fig 7275 uses light color and spring flowers to create the plain but elegant pattern; and the appropriate color schemes make the simple patterns become interesting.

Fig 72.

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Nikko – the “wabi-sabi” style

Fig 77 Fig 78.

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Fig 76.

The “wabi-sabi” style is explained through the motifs with stippling and geometric style on the utensils that made by Nikko. The stippling style motifs are created by changing the arrangement of the spots; and only blue and white color is used for the motifs (fig 76, 79, 80), because these two colors belong to the favorite colors of Japanese people. The geometric style motif that also made of many small spots in fig 77 and fig 78 shows a scene of kaleidoscope, which brings an unlimited imaginary space to people. Besides, fig 81 and fig 82 shows one of the classic motifs in Japanese design, which looks similar as the scales of fish or the waves; the percentage of the colors that is dyed on the motif is not balance, it shows the beauty of imperfect, which is one of the character of “wabi-sabi”.

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Fig 81.

Fig 82.

Little Greene – east and west

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The pattern of the wallpapers in this collection is heavily influenced by traditional Japanese kimono design, the combination of the east style and the west style makes the pattern become simpler but still retain the specific Japanese style because of the representativeness of the motifs, such as fan, blossom and pine.

Moreover, although the shape of the motifs is simplified, the pattern is not show a boring effect because the typical details of the motifs are kept, and the layout of the pattern is various. Besides, follow the general color scheme in Japanese design, colors in these wallpapers are light and quiet.

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Samsara wallcoverings – traditional and contemporary

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Another example of the application of general Japanese motifs can be seen in Samsara wallcoverings. The pattern of the wallpaper is made of bamboo and pine motif with Japanese traditional style, and the contemporary color scheme and layout make a modern effect to the pattern.

Through the research of this wallpaper, the motifs in Japanese traditional style show a combination of complicated and simple, the pine braches are described in detail, but the leaves of the pine and the bamboo is described with simple shapes and textures; this combination appropriately displays the feature of the natural things and expresses the concept of Japanese design again, that attach importance to the details and nature and pay attention to simplicity.

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• Color forecast – interior market

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According to the 2016 interior color trends and Japanese general color scheme which can be seen in previous research, the color scheme for collection two is decided, that the light color is the main color in the design, but the bright color and dark color will also appears to avoid the similar color scheme of the design in the collection.

Fig 100.

Fig 101.

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Fig 103.

Fig 102.

The alternative colorways of Little Greene wallpaper which is mentioned before has shown the connection with the selected color scheme for collection two. The main color of the color schemes will be light color, the bright color will add as the contrast color as it shows in fig 100 to highlight some textures or several motifs; or, to show the variety of the styles of the design, it will as the color schemes for some of the designs in the collection, as it shown in fig 101 and fig 103.

• Inspiration

Fig 1.

Fig 2.

The inspiration of this collection comes from the symbolism of Chinese traditional patterns.

Most of Chinese traditional patterns were designed based on the symbolism and were used to express the expectation and faith of people because of their superstitious thought; Chinese traditional patterns are employed in three main ways that to exorcise evil forces, to invoke good fortune, and to imply status, and these types can be used together. According to the usage ways of the symbolism, the design inspiration for the traditional patterns can be divided into five main types, including the habit of animals and plants, the living habit, the homophone and homonym, the Chinese words, the myths and stories.

To investigate the application of the symbolism of Chinese traditional patterns in contemporary design, five patterns with different symbolisms will be made in this collection. And, based on the market research, the combination of Chinese traditional culture and contemporary style will as the guide and the aim for the collection to learn and achieve. Besides, due to the impartible relation with Chinese traditional pattern, Chinese traditional colour is an important reference for the collection.

Fig 5.

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• Inspiration The theme of this design is “auspicious”, it is inspired by the symbolism of Chinese traditional pattern. In ancient China, magpie is the sign of propitious, Chinese people think once the bird is come, the good thing will happen; and, the plum represents the spring is coming because of its habit. So, the pattern with magpie and plum motif is the symbol of auspicious. In addition, the symbolism of the pattern also related to the homophone, that the pronunciation of magpie and plum in Chinese is related to a Chinese idiom which is used to describe auspicious.

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Fig 6.

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• Color Fig 9.

According to interior color trend and Chinese traditional colors and the natural color of magpie and plum, the bright and saturated colors are the main colors for the design.

Because the red color represents auspicious and happiness in China, and the yellow and green color also has good meaning. Besides, the color with low saturation is added in the color palette due to the application of the design and the fitness of contemporary style.

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• Motif

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My work

• Technique My work

Heather Barnett

My work

Fig 20.

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These mark making works are inspired by Heather Barnett’s works, which are used magnified cells as the motifs. I think the combination of the cells is amazing and interesting that various possibility is existed; and, the motifs they created shown a mirror effect which as similar as the scene in kaleidoscope. So I investigate the shape and the color of the motifs and textures of Barnett’s works and then produce some mark making works and choose a better one to create a mirror-effected texture.

My work

Fig 22.

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Blow painting is a easy technique to create textures and patterns, because it just need to use the straw to blow the pigment on the paper and control the direction of the pigment to make different shapes and lines.

When I consider how to describe the plum in an abstract way except using normal drawing technique, I think of the blow painting, so I research this technique and then try to describe the branches of the plum by using straws and pigments. Besides, the blow painting works I made are the practice for the texture I want to finally create, and the primary effect looks good.

My work

Fig 21.

Blow painting

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Fig 25.

Fig 24.

The firework made by liquid iron This kind of firework which is called “Da Shu Hua� in Chinese is a Chinese traditional folk custom in Hebei; during Yuanxiao Festival, the experienced blacksmith throw the liquid iron into the air to create the beautiful and amazing firework. In fact, this kind of firework is a way of celebration of the festival for blacksmiths, because in ancient China, poor blacksmiths can not afford the price of fireworks, so they created a cheap but specific firework to celebrate the festival.

I found that the form and the shape of the firework is similar as the form and shape that made by blow painting, they are all radial and irregular and contract, and the final effect is unique and beautiful. So I consider to combine the form of the firework and the blow painting together to create the texture.

Based on the research and investigation of blow painting and the traditional firework, the final texture I created is through the blow painting, and with black and red color, which is one of the representative traditional colors and is related to the color palette I chose for the design. In addition, the reason why I mix these two colors is I think red and black always has a strong expressive force, especially in abstract painting work.

My work

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• Layout

Fig 26.

Fig 27.

The layout of the design reference Lene Toni Kjeld ’s work (fig 26) and Heather Barnett’s work (fig 27).

Because, firstly, based on the circle-shaped texture I made, I think the layout in vertical style which shows in Kjeld’s work will be suitable for the design; secondly, the layout of Barnett’s work is suitable for the mirroreffected mark making work I made previously.

My work – design one in repeat (A4)

• Design Development

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• Inspiration

Fig 30.

Fig 28.

The pattern with quail, chrysanthemum and fallen leaves symbolize peace and contentment in life and work. The symbolism of this pattern comes from the homophone, the pronunciation of quail is as same as “An” in Chinese, which means peace; the pronunciation of chrysanthemum is as same as “Ju”, which means house or residence; and the pronunciation of fallen leaves is similar as “Le Ye”, which means feel contentment for the work. So, the whole word is used to describe the harmonious society and stable life.

Fig 29.

• Color On the basis of the interior color trend and traditional colors, I choose green, brown, orange and red as the main color for the design. The color palette makes me feel comfortable, which is the feeling I want to convey to people. I also think the warm colors in the color palette is fit for the symbolism of peace and contentment.

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• Motif Fig 35.

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My work

• Technique

The tassel of the lantern

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The symbolism of the word (peace and contentment) makes me think of the lantern, which symbolizes reunion. In my memory, the lantern is usually hung under the eaves or at the doors, this scene makes me feel warm and homesick. So I create the mark making works according to the shape and the form of the tassel of the lantern.

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My work

My work

Hanna Werning

Fig 43.

Fig 44.

In my opinion, Hanna’s work is full of imagination and creation, and she is good at using contrast color. Besides, I think the layout of her work is a combination of simple motifs and textures, which can show a good effect in design. To investigate the technique of Hanna’s work, I change the original motifs into simple style (such as quails, lantern, and chrysanthemum) and add details on the maple motif to avoid the combination of the motifs become boring.

My work

• Layout

I choose the layout of Cole & Son’s work (fig 45) as the reference for the layout of the background of the design and choose Hanna’s work (fig 46) as the reference of the layout of the motifs. because I think the background texture in vertical style is create a contrast effect with the motifs which are put above the background; and, the irregular arrangement of the motifs is different from the layout of the background and leave some space to the design.

39 My work – design two in repeat (A4)

Fig 46.

Fig 45.

• Design Development

• Inspiration

Fig 47.

Fig 48.

The inspiration of this design comes from a Chinese traditional pattern that a boy hold a fish and the lotus flowers are surround them. This pattern symbolises affluence and is usually seen in New Year pictures because of the homophone; the name of the motifs has similar pronunciation with the word “affluence” in Chinese - The word “fish” has the same pronunciation as the word “affluence” in Chinese; the lotus in this pattern has similar pronunciation as the word “year” in Chinese, hence, the pattern is an important element in New Year pictures that express people’s expectation of affluence in every year.

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• Color According to the color trend and the traditional colors, the main colors for the design will be bright and saturated. Because the bright and saturated colors are used in the most of the New Year pictures, and these colors such as red, yellow and green have the good meanings in China. But, the light color will also be add in the design due to the end use of the design.

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• Motif

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My work

43 My work

• Technique Water waves, ink, and mark making

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My work

Fig 57.

My work

The fish and lotus flower makes me think of water and the beautiful textures that make by the wave of the water. And, the water waves also make me think of the ink art, which shows a typical Chinese style and has similar feature with the water waves. So I made some mark making works based on the flexible and diverse water waves and the ink art. I also add the element of water waves into the shape of the fish and the lotus flower to create a effect that these motifs can be blended into the textures of the mark making works, and to make the traditional motifs more modern.

• Layout

Timorous Beasties

Fig 60.

The layout in Timorous’ work “Pheasant” formed the wavy lines that looks similar as the water wave, and this arrangement is suitable for the shape of the motifs I created for the design, so I choose it as the inspiration of the layout of my design. I also reference the arrangement of the motifs in Timorous’ work to arrange the motifs of the design.

My work – design three in repeat (A4)

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• Design Development

• Inspiration

Fig 62.

Fig 61.

The symbolism of Chinese traditional patterns can based on the habit of the animals, such as mandarin duck, it has a common application to describe affectionate couple because female duck and male duck always together. Mandarin duck pattern was embroidered on the quilt and pillow when people got married to represent happiness.

And, through the research of the patterns of mandarin duck, lotus flowers are always as an important element used in the pattern, which not only reflect the living environment of the mandarin duck, but also decorate the pattern.

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Fig 63.

• Color Fig 64.

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As the pattern that symbolises happiness, the main colors of the design will be red and yellow; and based on the colors of the color trend and the motifs, blue and green color will be add in the design.

In Chinese traditional wedding, the red and yellow color has a wide application, but consider about the contemporary design, I think the color application can not be confined to traditional style, it should show the inheritance and innovation, that is another reason that why the color palette is include both cold colors and warm colors such as red and yellow.

Motif •

My work

Fig 71.

49 Fig 70.

My work My work

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Fig 68.

My work

My work

• Technique Fromental and firecrackers

Fig 72.

My work

The work from Fromental (fig 72) inspired by the translucent patterning of buffalo horn, and it shows some interesting blurry textures, which look like the pouring rain or the scene that can be see when people falling to fast.

The color and the arrangement of the pattern makes me think of the firecrackers, a Chinese traditional firework; and because of the good meaning it symbolised, people used firecrackers in the wedding to celebrate. According to Fromental’s work and the firecrackers, I make this texture with red and yellow colors, which picked from the color palette and these pictures, to make a effect that can makes people remind something good.

Fig 73.

Fromental, Dewdrops and branches

Fig 74.

My work

The another Fromental’s work (fig 75) use red and yellow color as the main color that happen to coincide the traditional colors of the Chinese wedding. The motifs in the work described the beads threaded on strings, and because of the different size of the beads and the different distance of the strings, the whole pattern does not boring and inflexible. Moreover, the beads in black color make the pattern more interesting and modern.

I think fromental’s work is similar as the dewdrops on the branches (fig 74), because they both have the circular shapes in different size and the lines. So I reference these pictures to create this texture. I finally change the original color of this work based on the color palette and the visual effect of the design.

Fig 75.

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• Layout Fig 76.

Fromental and mandarin duck

Fig 77.

Fig 78.

According to fromental’s works, the layout of my design is in vertical. And by referencing the “beads threaded on strings” work (fig 76), I use the mandarin duck motifs as the beads and arrange them onto the “strings” – the mark making works.

In order to avoid the boring feeling of the design, I change the size of the motifs and adjust the color to keep the balance and to make it accord with the color palette.

Furthermore, I retain the character of the mandarin duck that two ducks always together to show the symbolism of the design which is happiness.

My work – design four in repeat (A4)

• Design Development

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• Inspiration

Fig 79.

Fig 80.

Ancient Chinese people think that many plants own special spirits, and the spirits can reflect people’s character. Lotus flower is usually used to describe the honesty of an incorrupt official or people who are honesty and integrity because of its living environment and habit, that rising from the mud but is not stained, bathed by clear waves but is not seductive. And, due to this feature, lotus flower also symbolises purity.

• Color

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Based on the feature and the appearance of the lotus flower, the bright and light colors are the main color of this design. To follow the color trend and keep the good balance of the color in the design, the cold color is also added in the color palette, which associated with the silent valley and the white mist.

Although white is one of the main colors of lotus flower, it will has less application in the design, because white usually symbolises death in China. However, white can represent purity in Buddhism, that is related to the character of the lotus flower and the theme of this design.

• Motif My work

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• Technique Chinese painting and bamboo The mark making work inspired by bamboo and the Chinese painting of bamboo. As lotus flower, bamboo also can reflect the character of people because of its living environment and appearance; it represents tenacity and courage in adversity.

In Chinese painting, the bamboo can be described only use simple lines and shapes because the painter is good at catch the typical features of bamboo. So I try to reference the style of the painting to make the texture of bamboo and to clearly show the character that the bamboo represents.

Fig 89.

Fig 90.

My work

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Fig 91.

Linda Florence

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Fig 93.

Linda’s work hide many interesting details, for instance, she filled some of the flowers with textures which look similar as the texture of the background to make the pattern become layered and complex (fig 92). The filling of the textures also can be seen in another example (fig 93), Linda put the different textures into the motif to create a contrast effect for the design.

Moreover, the contrast color is used in Linda’s work, it emphasizes the main motifs of the design and make a strong visual effect.

Hence, I use the bamboo textures and lines as the filler of the motif to correspond the background of the design; and to increase layering, the color of the bamboo textures in the motif is different from the color of the textures in the background. I also leave some motifs without the filler to avoid the design becomes too busy.

The cold color is chose as the contrast color to create a strong visual effect for the design. Besides, I change the saturation of the color when the two motifs are put together.

My work

Fig 96.

Fig 95.

Fig 94.

Cloud and mist, and ink art The pure feeling that the cloud and mist of the valley described is as similar as the feeling of the lotus flower to people, thus, based on the shape of the cloud and mist I saw, I change the shape of the lotus flower and add the textures of cloud and mist on it to break the traditional shape of lotus motif and to show the character of the lotus flower in my understanding. And, I found the shapes and textures that made by the ink art are look like the cloud and mist, so I make the mark making work according to the shape I saw from the ink art.

My work

59

• Layout

Chinese style and Linda Florence

Fig 97.

To find the best arrangement of the design, the inspiration of the layout also come from Linda’s work.

In this arrangement, I put the mark making work between the background and the motifs with the textures of bamboo and lines to leave a space and increase the Chinese style of the design. As the contrast color of the green and blue, I put the two lotus motif with red and yellow textures on the mark making work to increase the visual effect and to be associated with the mark making work.

My work – design five in repeat (A4)

Fig 98.

• Design Development

61

• Inspiration

Photo 1-5. (from left to right: rain, wind, snow, thunder, fire)

One of the inspirations of this collection comes from yuzen origami, which is a kind of Japanese art paper. The special technique was added during the working process of yuzen origami to create the specific patterns or textures on the paper, that makes the yuzen origami becomes exquisite and unique. Various patterns can be seen in yuzen origami, and this art paper has a wild application such as packaging, the covering of the notebook, the decoration of the paper box or other living supplies.

The reason why I choose these five kinds of yuzen origami for this collection is that the another inspiration of the collection comes from the five-element theory, which is originally a Chinese traditional theory. More than 1500 years ago, the Chinese five-element theory is introduced to Japan and is became to a Japanese religious culture after combined with Japanese culture. Japanese people named the five-element theory, which is processed and transformed, as “Onmyodo” (Yin and Yang). So, according to the five elements of the theory that include metal, wood, water, fire and earth, I retain the “fire”, and change other four elements to “thunder”, “snow”, “wind” and “rain”, because the five elements are natural elements, as same as all other natural elements; and, I also want to add my own thought in the collection instead of limited by the five-element theory. Hence, based on the five-elements I chose, the five kinds of yuzen origami that can correspond to the elements by my understanding are selected.

In addition, the “simplicity” style of Japanese design that is mentioned in the market research will also as the reference for this collection. This style can be seen in these yuzen origami that the description of the motifs is simpler than Chinese design, but the amazing combination and arrangement and color scheme of the motifs make the design so beautiful and so Japanese.

• Inspiration Fig 2.

Fig 3.

Fig 1.

Photo 6.

Fig 4.

“snow” is the inspiration and the theme of this design, so I try to think about the things that the “snow” reminds me, such as pine, wintersweet, red-crowned crane and the white roof of the house in the winter. And the reason why I select this yuzen origami as the resource of this design is when I visual investigate it I found that the motifs of pine and wintersweet are also shown in this pattern; and the color of this pattern is suitable for the theme “snow”.

Fig 5.

Fig 6.

63

• Color Fig 7.

The color palette of this design is Based on the interior color trend and the yuzen origami. The red, blue and brown color is the main color of the design; red color comes from the plants of winter and the crown of the crane, blue comes from the ice and the snow in the sunlight, and the brown color comes from the withered grass. Besides, red color as the only bright color of the design can highlight the motif and make the design become vivid and non-boring.

Fig 8.

Fig 11.

Fig 10.

Fig 9.

• Motif My work Fig 12.

My work

My work

Fig 14.

Fig 13.

Fig 15.

Fig 16.

Fig 17.

65

•

Technique Nikko and snow

Fig 18.

My work

Fig 19.

My work

My work

The picture in fig 19 is the “edokomon” plates that made by Nikko company (since 1908). The designer use different size of the spots to create different motifs and textures, which looks similar as the technique of stippling. And, the pattern on the plates also makes me think of snowy because of these spots and the color scheme.

So I reference Nikko’s technique and create the painting work with small and big spots; and then I try to change the direction and the color of the work and then combine them together to create a scene of snowy. The mark making work is also put into the pine cone I drew previously to create a new texture.

• Layout Snowy and yuzen origami The slant arrangement is the layout of this design that inspired by the yuzen origami; the spot-shaped texture which looks like the snow (fig 20) is another inspiration of the layout. So the final layout of the design is the combination of mark making work and yuzen origami.

Fig 20.

Photo 7

My work – design one in repeat (64*64)

The mark making work I made is use as the background of the design, it create a snowy effect and show the theme of this design. As the elements of winter, the pine branches are arranged in the slant style, and the red-crowned cranes are follow the direction of the pine branches because the crane in simple shape can decrease the busy feeling of the branches and the background textures. To make the design looks not boring and not full of the cold color, the pine cones with red textures is put between the cranes and the pine branches. In addition, the appropriate spaces are left in the design.

67

•

Design Development

• Inspiration

Photo 8

Fig 22.

Fig 21.

Fig 23.

Fig 24.

Fig 25.

Fig 26.

Fig 27.

The theme of this design is “thunder�, and the main motif of the design is lightning in the thunderstorm. Through this yuzen origami I think the curve lines and purple and red color of the pattern looks similar as the texture and the color that the lightning made. And, the lightning makes me think of the withered grass because of its shape.

I also find other elements that I will used in the design, including flowers and fans, which are the classic motifs in Japanese pattern design.

69

• Color The color palette for this design is pick from the color trend and the colors about the thunderstorm. The blue color comes from the sky in thunderstorm; orange color comes from the sunlight; and brown is the color of the withered grass.

Considering about the application of the design, which is for bedding, I use blue color as the main color for this design, and the bright colors such as yellow and orange are the contrast colors from blue to create an interesting effect.

Fig 28.

Fig 29.

Fig 30.

Fig

Fig 31.

Fig 32.

• Motif

Fig 33.

Fig 34.

Fig 35.

My work

71 My work

• Technique Jo Nagasaka and lightning

Fig 36.

Fig 37.

The work made by Jo Nagasaka (fig 36) is named “Kurage” (jellyfish) because of its shape, and the material of the lamp includes LEDs and optical fibre. I think the textures that the lamp created is as similar as the textures of the lightning or the smoke. The design idea makes the lamp become unique and attractive because its shape is not cuboid or sphere, it is more imaginative and unstable. So according to the research, I make the texture and try to show the feature of the lightning, that is changeful.

My work Fig 38.

Masakazu Kobayashi and withered grass

Fig 39.

Fig 40.

Fig 41.

My work

To find the reference of creating textures of the withered grass, which is one of the elements for the design, I search works from Masakazu Kobayashi. The works shown in fig 39 and fig 40 created by Masakazu Kobayashi and his wife Naomi Kobayashi. “Bows” is the name of Masakazu’s work that under the big ring, it is made by a kind of tensile material and display a similar shape of the withered grass.

Hence the texture is created based on the form of “bows” and withered grass, that the lines are interweaved together and the leaves from withered plants or grass are added.

73

• Layout The layout of the design inspired by the layouts from three designs. Firstly, I reference the arrangement of the fans in fig 42 and then consider the position and direction of the fans in my design; secondly, I arrange the orange shape which inspired by yuzen origami and the lightning together based on fig 43 and photo 9, because the curve lines in both of them provide me a good idea of the combination; thirdly I put the flowers into the design according to fig 44 to create an irregular effect in the pattern.

My work – design two in repeat (64*64) Photo 9

Fig 42.

Fig 44.

Fig 43.

• Design Development

75

• Inspiration

Photo 10

Fig 46.

Fig 47.

Fig 48.

Fig 45.

“rain� is the theme and inspiration of this design, as this element, the natural things and forms that related to the rainy are the elements of the design, including dragonfly, drizzle, and falling petals. Through the yuzen origami that is selected for the theme, the curve shapes look like the thick clouds, and the gold and white fragments look like the raindrops but more exquisite and expressive, as the textures in fig 47, and is closer to the falling petals. So, the aim of the design is to transfer the wispy rain into the textures that has more strong expressive force.

• Color

Fig 49.

Fig 53.

Fig 50.

Fig 51.

The warm colours come from flora and lights, and the cold colours come from rainy day; thus the design is follow this kind of colour palette.

Although the blue colour and the yellow colour is the contrast colour, the saturation and brightness is lower, which makes the colour scheme quiet and soft.

Fig 52.

77 Fig 54.

• Motif

My work

Fig 60.

Fig 56.

My work

Fig 57.

Fig 58.

My work

Fig 59.

Fig 55.

My work

Fig.

My work

• Technique Chiyu Uemae, yuzen origami and raindrops

Fig 62.

My work 1

Fig 61.

The work in fig 61 made by Chiyu Uemae, and the material Chiyu used is oil, he put the oil on silk and then mounted on board. The long and slight marks that left on the board makes me remind the slight drizzles or the pouring rain, and the irregular breakpoints are like the raindrops, which is the basis of the texture in my work 1; and I finally change the original colour of this texture based on the colour palette and the effect I want to create. The pattern in the yuzen origami is also the reference for creating the textures of the design; as the similarity between this origami and the natural things which is mentioned in “inspiration” part, the texture I made (my work 2) is based on the shape of clouds and raindrops.

Fig.

79 My work 2

Photo 11

• Layout My work – design three in repeat (64*64)

Fig 63.

Photo 12

Fig 64.

The layout of the design references three design works. Based on the layout of yuzen origami and Chiyu Uemae’s work, the design is organized in vertical style; according to fig 64, the motifs are arranged in irregular style and the space is left to avoid the busy feeling in the design.

• Design Development

81

• Inspiration Fig 66.

Fig 67.

Fig 65.

The theme of the design is “wind”; and in this design, I try to through the visible shapes to describe the invisible wind, so the elements of the design are inspired by the form of the clouds in windy day and the natural things such as swallow, wheat and reed that the wind reminds me. The works from Kiyonori Shimada (fig 68) and Osumi Yukie (fig 66) are also the inspiration of my design because the textures and shapes in their works are similar with the shapes of clouds that made by wind. Besides, this kind of shape is found in the yuzen origami I selected for this theme too.

In addition, the flora is also the element of the design, which is a classic and common motif in Japanese patterns and also the natural thing that can be seen in the windy day.

Fig 68.

Fig 69.

Fig 70.

Photo 13

• Color

Fig 72.

Fig 71.

The colours come from the elements of the design, including swallow, flowers and wheat, and also the interior colour trend and a Japanese style pattern (fig 73); the colour scheme of that design is the main scheme of my design, that soft and light colour is the main scheme of the design, because it create a comfortable atmosphere to people and is suitable for bedding.

Fig 74.

Fig 75.

Fig 73.

83

• Motif

Fig 77.

Fig 76.

My work

Fig 79.

Fig 78.

Fig 83.

Fig 80.

My work

Fig 82.

Fig 81.

85 My work

My work

• Technique

Fig 84.

Fig 85.

Fig 86.

Fig 87.

Fig 88.

Kiyonori’s work (fig 84) is made by dyed cotton cloth and acrylics, that is why the shape is soft and flexible. His design idea is not merely forming a replica of nature by coping these shapes, but of evolving and creating new shapes; and this idea gives me the inspiration of the transformation of clouds shapes.

The work “Sea Breeze” from Osumi Yukie (85) is made by hammered silver; the colour of the material reminds me of the sunlight or the moonlight on the breezy sea. And, the stereo part of this work shows an amazing effect of the texture of the wind. Through the work, Osumi is exactly convey her idea to people that the scene of nature which is formless and flowing; and her idea also inspired me on making the textures of wind through the shape of clouds.

Hence, according to the research, I create two kinds of textures to describe the wind; one of them is based on the shape of clouds in windy day and the shape and soft feeling of Kiyonori’s work (my work 1), and another texture of the wind (my work 2) is based on the shape in fig 88 and the form of breeze in Osumi’s work.

My work 1

Kiyonori Shimada, Osumi Yukie, and clouds

My work 2

• Layout

Photo 14

Fig 89.

My work – design four in repeat (64*64)

Yuzen origami and the Japanese style pattern (fig 89) is the inspiration of the layout of the design; the direction of the layout from the direction of the pattern in yuzen origami, and the arrangement of the motifs is based on the arrangement of the motifs in fig 89. Because the arrangement of these two patterns can describe the direction and the form of the wind, as it shown in my work. And, I also want to create a soft and comfortable feeling through my design because the application of the design is for bedding.

87

• Design Development

• Inspiration Photo 15 Fig 93.

This design is inspired by fire and the things that has similar colour with fire such as maple leaves and goldfish. Besides, I think the texture in the yuzen origami and fig 92 reflects the rhythm of the fire and looks like the scales of the fish, and that is another inspiration of the design.

Excepting the colour and the texture, the maple leaves, goldfish and berries are also as the motif for the design, because maple leaves is one of the common motifs in Japanese pattern design; secondly, the goldfish and berries are added for increasing the layering and avoiding the monotony.

Fig 92.

Fig 90.

Fig 91.

Fig 94.

89

• Color As similar as the colour palette of “thunder”, the bright colour such as yellow, orange and red is used in the design. But, yellow and red is the main colour for this design, that is different from other four designs and is brighter than them, because, at first, I do not want the colour palettes of the whole collection are similar, the different colour scheme should be produced, as “thunder” and “fire”; secondly, through the market research, various colour schemes are existed for bedding to meet the different demands of customers; thirdly, by following the colour trend, the colour palette should correspond to the theme of the design and acheieve the aim effect.

Fig 95.

Fig 96.

Fig 98.

Fig 97.

Fig 100.

Fig 99.

Fig 101.

• Motif

Fig 102.

My work

My work

My work Fig 103.

Fig 104.

91

My work Fig 105.

My work

Fig 106.

Fig 107.

Fig 108.

• Technique

Fig 109.

My work

Classic Japanese pattern and fish scales Fig 110.

The fish scales and scale-shaped or wave-shaped pattern (fig 109) is the reference of the mark making work for the design. The arrangement of the shapes in this classic Japanese pattern is interlaced and shows a regular but interesting effect, as similar as the arrangement of the fish scales. Following this kind of shape, I use marker first to draw a length of the shapes and use them as the background; and then I use pigment to draw the shapes repeatedly but interlace the marker-made shapes; finally I separate the original colour of the mark making work to two colours which is red and yellow in order to fit the colour scheme and carry other colours better.

93

• Layout Photo 16

The layout of this design is according to three kinds of arrangements. Although the patterns are different, the similar arrangement and the element of fish scales can be found in these patterns. So, through these patterns, I arrange the scaleshaped texture in a regular way but make the yellow one upon the red one to create a layered effect. The arrangement of the motifs is based on the arrangement in the yuzen origami, that the motifs are put in irregular style and are covered by each other. I also add less blue colour to a fish motif to keep the balance of the colour and make a contrast effect to the design.

Fig 111.

My work – design five in repeat (64*64) Fig 112.

• Design Development

95

• Design One

• Design Two

97

• Design Three

• Design Four

99

• Design Five

• Design One

101

• Design Two

• Design Three

103

• Design Four

• Design Five

105

•

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Market Research

Fig 1: Liu, W. J. 2016. The contemporary Chinese style describes the fashionable lifestyle. 7 March. Global Design 339. [Online]. [Accessed 30 May 2016]. Available from: http://mp.weixin.qq.com/s?__biz=MjM5MzcxOTcyMQ==&mid=403314559&idx=1&sn=c4d438f53d795f0bb3b5b8cef834bf80&scene=1&srcid=0307uzhgTiwavuz1FO MFrOmz&from=groupmessage&isappinstalled=0#wechat_redirect 2. Fig 2, Fig 47: Interior Designipedia. Chinese Interior Design. [Online]. [Accessed 30 May 2016]. Available from: http://www.dwellcandy.com/interior-design-styles2/chinese/ 3. Fig 3: ITC 4860. 2011. Joyce Cast Your Vote. 10 June. 2011. [Online]. [Accessed 30 May 2016]. Available from: http://wowfashionpromote.blogspot.co.uk/2011/10/yanmi-second-post.html 4. Fig 4: Luo, D.Q. 2015. Xueming Lin’s work “cha” will be show in the exhibition in Milan. [Online]. [Accessed 15 March 2016]. Available from: http://home.focus.cn/news/1970-01-01/428101.html 5. Fig 5 and Fig 6: Sly. Deco – Large Luxury Bamboo Trivet. [Online]. [Accessed 30 May 2016]. Available from: https://onthesly.com.au/products/deco-large-luxurybamboo-trivet 6. Fig 7, Fig 8, Fig 9, Fig 11, Fig 13, Fig 14: Fromental. Installations. [Online]. [Accessed 30 May 2016]. Available from: http://www.fromental.co.uk/collections/handmade-wallpaper/chinoiserie/installations/ 7. Fig 10, Fig 17, Fig 22: Fromental. Lotus and carp. [Online]. [Accessed 30 May 2016]. Available from: http://www.fromental.co.uk/collections/handmadewallpaper/20th-century/lotus-and-carp/ 8. Fig 12, Fig 16, Fig 50: Fromental. Chinon. [Online]. [Accessed 30 May 2016]. Available from: http://www.fromental.co.uk/collections/handmade-wallpaper/20thcentury/chinon-2/ 9. Fig 15, Fig 23: Fromental. Pleasure of fishes. [Online]. [Accessed 30 May 2016]. Available from: http://www.fromental.co.uk/collections/handmade-wallpaper/20thcentury/pleasure-of-fishes/ 10. Fig 18, Fig 19, Fig 20, Fig 52, Fig 54: Fromental. Colourways. [Online]. [Accessed 30 May 2016]. Available from: http://www.fromental.co.uk/collections/handmadewallpaper/chinoiserie/colourways/ 11. Fig 21, Fig 53: Fromental. Chinese sparrows. [Online]. [Accessed 30 May 2016]. Available from: http://www.fromental.co.uk/collections/handmade-wallpaper/20thcentury/chinese-sparrows/

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Fig 24, Fig 34, Fig 49, Fig 60: FUANNA. FUANNA bedding set peacock. [Online]. [Accessed 30 May 2016]. Available from: http://www.fuanna.com/?app_act=goods/do_index&code=811001757 Fig 25, Fig 36, Fig 59: FUANNA. FUANNA wedding bedding set beauty. [Online]. [Accessed 30 May 2016]. Available from: http://www.fuanna.com/?app_act=goods/do_index&code=811001957 Fig 26, Fig 35: FUANNA. FUANNA wedding bedding set rose beauty. [Online]. [Accessed 30 May 2016]. Available from: http://www.fuanna.com/?app_act=goods/do_index&code=811001247 Fig 27, Fig 37: FUANNA. FUANNA wedding bedding set forever love. [Online]. [Accessed 30 May 2016]. Available from: http://www.fuanna.com/?app_act=goods/do_index&code=811002079 Fig 28, Fig 32, Fig 61: FUANNA. Bedding set melodious sound. [Online]. [Accessed 30 May 2016]. Available from: http://www.fuanna.com/?app_act=goods/do_index&code=821001613 Fig 29, Fig 33, Fig 63: FUANNA. FUANNA textile bedding set meet in Prague. [Online]. [Accessed 30 May 2016]. Available from: http://www.fuanna.com/?app_act=goods/do_index&code=811002197 Fig 30, Fig 31, Fig 62: FUANNA. FUANNA cotton bedding set elegant style. [Online]. [Accessed 30 May 2016]. Available from: http://www.fuanna.com/?app_act=goods/do_index&code=74210008 Fig 38, Fig 42, Fig 55: AIRLAND. Hibiscus bedding set. [Online]. [Accessed 30 May 2016]. Available from: http://www.AIRLANDhome.com/mall/product/view/id47.html Fig 39, Fig 43, Fig 56: AIRLAND. Flora bedding set. [Online]. [Accessed 30 May 2016]. Available from: http://www.AIRLANDhome.com/mall/product/view/id-42.html Fig 40, Fig 44, Fig 57: AIRLAND. Dragon and phoenix bedding set. [Online]. [Accessed 30 May 2016]. Available from: http://www.AIRLANDhome.com/mall/product/view/id-44.html Fig 41, Fig 45, Fig 58: AIRLAND. Romance full of house bedding set. [Online]. [Accessed 30 May 2016]. Available from: http://www.airlandhome.com/mall/product/view/id-44.html Fig 46, Fig 99: BEHR. 2016. BEHR Trends 2016. [Online]. [Accessed 30 May 2016]. Available from: http://www.behr.com/consumer_ca/inspiration/2016-colour-trends Fig 48, Fig 51, Fig 96, Fig 97: Porter, A. 2015. Are You Ready for Pantone 2016 Colour Trends? [Online]. [Accessed 30 May 2016]. Available from: https://annporter.wordpress.com/2015/08/10/are-you-ready-for-pantone-2016-color-trends/ Fig 64, Fig 65, Fig 98: Simplicity. SSS. [Online]. [Accessed 30 May 2016]. Available from: http://www.simplicity.co.jp/en/

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Fig 66: Manchester Warehouse. Yuko Quilt Cover Set Range. [Online]. [Accessed 30 May 2016]. Available from: http://www.manchesterwarehouse.com.au/alex-perryyuko-quilt-cover-set-range-black/ 2. Fig67: Nagasaka, J. 2008. Kurage. [Online]. [Accessed 30 May 2016]. Available from: http://www.designboom.com/design/schemata-architecture-office-kurage-3/ 3. Fig 68: Yukie, O. 2007. High Tide Comes In. [Online]. [Accessed 30 May 2016]. Available from: http://onishigallery.com/osumi-yukie 4. Fig 69 – Fig 71: lisa. 2012. True eggshell cups are here.; D&DEPARTMENT/Marunao-seitojo“Cups”. 27 November. Products, tableware. [Online]. [Accessed 30 May 2016]. Available from: http://ginkgraph.net/articles/products/eggshell-cups-d-department-marunao-seitojo.html 5.

Fig 72 – Fig 75: lisa. 2014. Beautiful flower paper & envelopes for spring: Designphil“Kami”. 5 March. Stationery. [Online]. [Accessed 30 May 2016]. Available from: http://ginkgraph.net/articles/stationery/designphil-kami.html 6.

Fig 76: NIKKO. Scroll texture plate. [Online]. [accessed 30 May 2016]. Available from: http://www.nikko-tabletop.jp/products/detail.php?product_id=255 7.

Fig 77: NIKKO. Texture plate. [Online]. [Accessed 30 May 2016]. Available from: http://www.nikko-tabletop.jp/products/detail.php?product_id=5226 8.

Fig 78: NIKKO. Texture cup. [Online]. [Accessed 30 May 2016]. Available from: http://www.nikko-tabletop.jp/products/detail.php?product_id=4343 9.

Fig 79: NIKKO. Texture cup set. [Online]. [Accessed 30 May 2016]. Available from: http://www.nikko-tabletop.jp/products/detail.php?product_id=4383 10. Fig 80: NIKKO. 2003. EdokomonPlates. [Online]. [Accessed 30 May 2016]. Available from: http://www.dwell.com/photo/41129/edokomon-plates-and-bowls-nikko-2003 11. Fig 81: NIKKO. Plate. [Online]. [Accessed 30 May 2016]. Available from: http://www.nikko-tabletop.jp/products/detail.php?product_id=5678 12. Fig 82: NIKKO. Cup. [Online]. [Accessed 30 May 2016]. Available from: http://www.nikko-tabletop.jp/products/detail.php?product_id=5683 13. Fig 83, Fig 87, Fig 101: Little Greene. Shojo. [Online]. [Accessed 30 May 2016]. Available from: http://www.littlegreene.com/wallpaper/collection/oriental-papers/natural 14. Fig 84, fig 88, Fig 102: Little Greene. Pine. [Online]. [Accessed 30 May 2016]. Available from: http://www.littlegreene.com/wallpaper/collection/oriental-papers/blue-pine 15. Fig 85, Fig 89, Fig 103: Little Greene. Camellia. [Online]. [Accessed 30 May 2016]. Available from: http://www.littlegreene.com/wallpaper/collection/orientalpapers/teal 16. Fig 86, Fig 100: Little Greene. Blossom. [Online]. [Accessed 30 May 2016]. Available from: http://www.littlegreene.com/wallpaper/collection/oriental-papers/orangeblossom 17. Fig 90, Fig 91: ROMO. Tamaki wallcovering. [Online]. [Accessed 30 May 2016]. Available from: http://www.romo.com/collections/wall-coverings/samsarawallcoverings

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Fig 92: ROMO. Tamaki wallcovering. [Online]. [Accessed 30 May 30, 2016]. Available from: https://uk.pinterest.com/pin/495184921504555719/ Fig 93: ROMO. Tamaki wallcovering. [Online]. [Accessed 30 May 2016]. Available from: https://uk.pinterest.com/pin/363876844862790052/ Fig 94: ROMO. Tamaki wallcovering. [Online]. [Accessed 30 May 2016]. Available from: http://www.romo.com/collections/wall-coverings/samsarawallcoverings/tamaki-wallcovering Fig 95: tokouan. Gold thread woven fabric. [Online]. [Accessed 30 May 2016]. Available from: http://tokouan.co.jp/SHOP/kinran-shokubu280.html

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Fig 1, Fig 28, Fig 34: Qin, X. Peace and Contentment. [Online]. [Accessed 30 May 2016]. Available from: http://www.kongfz.cn/2036588/pic/ Fig 2, Fig 62, Fig 64, Fig 77: 58pic. 2014. Mandarin Duck. [Online]. [Accessed 30 May 2016]. Available from: http://www.58pic.com/psd/13892710.html Fig 3, Fig 52: tickets. 2014. Affluence. [Online]. [Accessed 30 May 2016]. Available from: http://www.tickets.com.cn/news_4848.html Fig 4, Fig 8, Fig 12: xiaoyezijiejie. 2012. Chinese traditional pattern – Xi. 22 April. Embroidery Collection. [Online]. [Accessed 30 May 2016]. Available from: http://blog.sina.com.cn/s/blog_a47743d401011pvx.html Fig 5, Fig 80: redocn. Lotus pattern painting. [Online]. [Accessed 30 MAY 2016]. Available from: http://sucai.redocn.com/shiliangtu/1524689.html

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