“Gotta Go” fabric design

I’ve been laboring away in a course called “The Sellable Sketch.” I reached the point where I picked out (1) a style I aspired to (“flowing”), (2) a current trend in fashion (“natural textures”), and (3) an end-user (long-story-short “cosmopolitan”). The challenge now: design a fabric collection — three or more designs that “go together.”

Oy. My vision far exceeds my skill. For a couple of weeks now I’ve been exploring a dozen lonesome roads to nowhere in the landscape of my imagination. But enough is enough. Time to wrap up winter projects.

So this is where I got. I decided some well-chosen words might persuade the viewer that I’m onto something, so I named the collection GOTTA GO — for garments that make you feel artful and energetic – ready to turn discontent into action.”(The gallery below is clickable.)

More words:

WHERE TO NEXT? A hand-drawn mental meander on a backdrop of passport stamps. No limits. (Memo to self: save your doodles — sometimes they are the most genuine expression.)

OLD TRAVELER. A tumble of vintage passports on traditional Japanese shibori. Been there. (Memo to self: scanning my tie-dyed cloth is not a short-cut. Making something natural look “natural” is damn hard.)

BE THE WIND. Hand lettering billows and blows across the landscape. Nothing stops it. (Memo to self: this could use some revision where “wind” looks more like a river, but turning a doodle into a repeating pattern was enough of a challenge for the moment.)

Let’s toast to our imaginative (and imaginary) adventures and to our lifelong learning. Wine poured. [Continued here.]

1 thought on ““Gotta Go” fabric design”

  1. […] [Cont’d from here] How did I wind up here, drawing “paper dolls” to add my fabric designs to? Maybe in old age I’m simply circling back to one of my first loves — 1950s paper dolls. Rita Hayworth. The Maguire Sisters. I could lose myself for hours dressing them and having them act out their stories. In fifth grade, my girlfriend’s mom taught us how to draw our own clothes for them, which kept me fired up through Tuesday Weld (“Dobie Gillis,” 1959-63) and into the Ann-Margaret (“Bye Bye Birdie” 1963) era. […]

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