Three questions with Jasper Goodall
Where did you get the inspiration for the Elements designs from?
Following a successful career, as an illustrator for many years, I’ve always been very interested in photography, but never considered myself to be a photographer. But, my new work, which is focused around nature, is entirely photographic, with slight manipulations on photoshop.
When I received the brief from FESPA, I wanted to see how I could pull my love for landscape photography, and the many different textures that can be found in nature, into the designs.
Because the work needed to showcase a huge colour gamut and different textures as well as be suitable for different print processes, I had the initial idea of creating a sort of ‘print assault course’. Taking into consideration the range of imagery, textures and colours, there also needed to be cohesion between the designs, so they looked like a unified set. Drawing on my love for nature, I felt that creating designs associated with the Elements was an interesting way of presenting a variety of textures and colours, while also telling a story. For instance, bright orange can be used for fire, and blue for water and ice, while also bringing in different textures including rocks, liquids, metallics, crystals and leaves. The designs ensure that different textures show up on different applications and visuals, while also fitting nicely with the event’s ‘Explosion of Possibilities’ campaign theme.
To bring the designs together I spent time photographing items at places such as the Natural History Museum, Kew Gardens and Purbeck Coast to bring together my vision of the Elements.
Once all of the photography was captured I then had to explore opportunities to bring all of the different imagery together. I decided to use isometric cubes and hexagons, which meant that we could place different images side by side under each ‘Element’.
How do you think these will transfer to print at FESPA Global Print Expo?
Because my work has always been about print on paper and I don’t have any previous experience with design for textile or interiors, I have no pre-conception of what they’ll look like when applied to sofas and soft furnishings.
The designs provide an opportunity for such a range of texture, so I’m looking forward to seeing how the designers and printers will pull out these different textures and apply them across a variety of applications.
Some of the designs, such as Fire will also lend themselves well to applications and inks that fluoresce under dark lights.
Another reason I decided on the isometric cube / hexagons is because - for textile applications specifically - some of the designs need to repeat in order to be printed on items such as soft furnishings, garments and wallpaper. I actually found this quite tricky initially because I’m not a regular textile designer. It was probably the most challenging part of the whole process for me.
How do you think digital print production can benefit designers?
I think quite often in the past, set-up costs have been prohibitive. However, today, where shorter runs are more the norm, digital production technology has opened up new opportunities for designers.
We’re in an interesting phase in commerce where you can run your own shop off a website, without having to store lots of stock. Because of this, I think more people are realising its possible to be their own boss and run their own e-commerce business. Businesses can print to order now and it doesn’t take long to turn it around. Digital print makes this possible and I think small businesses will benefit massively from it.
For more information on Jasper and his work click here.
For register to attend FESPA Global Print Expo 2019, click here. Use code FESM915 for free entry.