Charcoal tea set composition

Radhia Firfirey,

Charcoal tea set composition,

2011.

Colour photograph.

42cm×30cm, A3 size paper.

Crawford, Cape Town        
Price R50.     

The charcoal drawing is placed in a portrait layout. The portrait is divided into three quadrants namely the fore-draft, middle-draft and back-draft. This charcoal drawing of a tea set is composed in a way that works in harmony with these ceramic kitchen objects. In the back-draft of the charcoal drawing is the tea kettle and this is the central focal point in the drawing. The tea set is placed on the table and when looking at it from a distance will find that the propositions of this tea set will vary. Light and shadow play a big role in the formation of the three dimensional tea set. To show volume in an object you need to place a shadow at the bottom of the surface.

Each type of material will reflect different types of tonal value for example the gold spoon reflects more light and the white glass reflects tinted light. Shade does not only give form but the line also creates form. Do you know how a line is form? A line is formed by a number of dots. Each dot can form curve lines, straight lines and diagonal line. What is form? Form consist of height, length and breath. The material used in this project is A3 cartridge paper, white, black, brown charcoal and an easel.

Firfirey, R.2011. Charcoal tea set composition. Crawford, Cape Town.                  

3D Deco purge frames

Radhia Firfirey,

Magnolia flower,

2011.

Colour photograph.

385mm×345mm.

Crawford, Cape Town             

Radhia Firfirey,

Victorian Fantasy flower,

2011.

Colour photograph.

385mm×345mm.

Crawford, Cape Town             



Victorian Fantasy flower and Magnolia flower is made into 3 dimensional pictures to bring it out to the viewer’s eye. These picture frames can be placed in a front room, dining room or a bedroom where it would be a pleasure to look at. The colours of the Magnolia picture are brown, purple and green. The colours of the Victorian Fantasy picture are purple, pink and green. The colour of the Victorian Fantasy flower background is green with the use of a purple mounting; this brings it out more if compared to using a green mount only. With regard to the Magnolia flower the green mount stands more out than the purple and both these frame boxes has a silver border. The dimensions of these frames are 385mm length by 345mm breath.

The contrast in colour of the Magnolia flower is more dominant than in the Victorian Fantasy flower because the background is tinted pink that reveals the darker brown more easily. The Victorian Fantasy flower has a dark green background that hides the green stems. The focalisation of the Victorian Fantasy lies on the pink edging of the petals of the flower.  Silicon glue is use to lift the stages of each tiny peace of the segment of the flower to form it. The form is not only created by the glue that elevates the segment of each flower but the shape plays big role too. The curve line that is place by the use of angles creates the shape and gives depth to the image. The transition of colour gives off the senses of tonal value. Tone is created by shades that are light to dark from one point to another point.

With regard to the Magnolia flower there is more sense of texture in the brown stem than the green stem. The two 3 dimensional images has a balanced composition for example the Victorian Fantasy flower has two flower buds extended above the main flower and the Magnolia flower has one big flower dangly across with two small buds on each side.    

Firfirey, R. 2011.three dimensional Deco purge frames. Crawford, Cape Town.

Surface Design: Fabric printed handmade long oven gloves and coasters with original patterns.

Radhia Firfirey,

side image of long oven glove,

2011.

Colour photograph.

Crawford, Cape Town             

Radhia Firfirey,

Top view of long oven glove,

2011.

Colour photograph.

Crawford, Cape Town             



Radhia Firfirey,

Top view of long oven glove,

2011.

Colour photograph.

Crawford, Cape Town             



Radhia Firfirey,

side image of long oven glove,

2011.

Colour photograph.

Crawford, Cape Town             

Radhia Firfirey,

side image of long oven glove,

2011.

Colour photograph.

Crawford, Cape Town             

Radhia Firfirey,

Top view of long oven glove,

2011.

Colour photograph.

Crawford, Cape Town             

Radhia Firfirey,

side image of long oven glove,

2011.

Colour photograph.

Crawford, Cape Town             

Radhia Firfirey,

Top view of long oven glove,

2011.

Colour photograph.

Crawford, Cape Town             

Radhia Firfirey,

Top view of coasters,

2011.

Colour photograph.

Crawford, Cape Town             

Radhia Firfirey,

Top view of coasters,

2011.

Colour photograph.

Crawford, Cape Town             



These handmade surface design patterns are very original, something you will never find in the local shops. I chose these tinted and light backgrounds to bring the pattern forward and in focus. Each of these patterns is in different positional styles namely rotational position, half drop position, full drop position and mirrored position.

 In the lime green background oven glove flower pattern, I used the rotational style for the pocket and across the body of the glove I used the mirrored style.

The yellow background oven glove has a coffee pattern. I used the rotational style for the pocket of the oven glove. The body of the oven glove has the mirrored style that is centrally placed in red.

The turquoise long oven glove has also a coffee pattern. The coffee pattern is placed in a rotational style and the patterns are adjacent to each other. The body of the turquoise long oven glove is filled with groups of the pattern grouped in a square pattern.

 Only the pink long oven glove has a half drop pineapple pattern that is placed adjacent to each other on the body of the glove and the style is place centrally on the pocket.  

The binding colour was chosen on the basis of the colour of the pattern. This binding gives the products a neat and complete look.

The coasters are used for warm tea or coffee mugs so that your surface area can be protected. The materials consisted of calico material, different colour cottons, fabric paint, brush, sponge, transparent sheet, ante cutter, paper, marker, binding and, batting that is thin and thick. I used the best type of batting for the long oven glove that is the thick one. The thick batting last longer that the thin one that why my oven glove is best one to be purchase. When I finished the yellow oven glove I realised that it has a Chinese style to it. These oven gloves are aimed at to home makers and it would make a delightful gift to a friend that is fond of working in the kitchen.

Firfirey, R.2011. Fabric printed handmade long oven gloves and coasters with original patterns. Crawford, Cape Town.       

Art & Design: Fabric painted Kitchen wear (The purple rose theme)

                                                                                                                                                       

Radhia Firfirey,

Top view of tray cloth,

2011.

Colour photograph.

Crawford, Cape Town           

Radhia Firfirey,

side image of long oven glove,

2011.

Colour photograph.

Crawford, Cape Town             

Radhia Firfirey,

Front view of apron,

2011.

Colour photograph.

Crawford, Cape Town             

Radhia Firfirey,

Top view of long oven glove,

2011.

Colour photograph.

Crawford, Cape Town             

The purple rose kitchen set was designed especially for my client as a house warming gift to her best friend. The theme icon of these products is a two dimensional purple rose and this rose is placed on the cloth as a top view. The creeper in this product is an ivory creeper.

The composition of the tray cloth was designed to focus on the main purple rose. The three dimensional purple rose is in contrast with the main rose. These three dimensional roses have different colours that give this image a variety. The white rose is placed on the background of the green leaf to outline it. These roses add a cool effect to the design by use of blue, white and purple. The ivory creeper has a repetitive pattern of the leaves that adds rhythm.

The long kitchen glove has a focal point mainly on the ivory creeper. I chose the ivory creeper because of the purple flowers that are two dimensional. This glove is evenly balance with two symmetrical flowers. When you fold the long glove in half then the dominant colour is purple.

The apron is designed to direct the focus manly on the upper part of the body. The creeper is placed as a necklace to the apron. The two colour roses are there to represent a different colour contrast that is symmetrically balanced.  The angle of the leave shows movement and the leaves have different proportion. There is a variety of colourful flowers and big leaves that present a composition that works in harmony with this image.

I would recommend this kitchen set design for newly married couples that love roses and the colour purple.

Firfirey, R. 2011.Hand paint fabric painted kitchen wear (The purple rose theme). Crawford, Cape Town.

Arts & Design: March lily hand fabric painted tablecloth

Radhia Firfirey,

March Lily tablecloth,

2011.

Colour photograph.

1690mm×990mm table size.

Crawford, Cape Town             

Radhia Firfirey,

March Lily tablecloth,

2011.

Colour photograph.

1690mm×990mm table size.

Crawford, Cape Town             

Radhia Firfirey,

March Lily tablecloth,

2011.

Colour photograph.

1690mm×990mm table size.

Crawford, Cape Town             

The March lily tablecloth is suitable for an interior with a pink and brown theme for the dining room. This dining room table is the centre piece of the room. The viewer becomes amused when looking at it. The flowers look so real that they would like to reach out and touch them. The purpose of this tablecloth is to welcome the viewer to your home in a pleasant way.

The story behind this tablecloth is the brown rectangle shape is the ground and the 3 dimensional flowers bloom out to give a sweet fragrance off. The interior has a theme that is pink and brown which the March lily fabric painted table cloth goes very will with. In this project my client was looking at dark pink, brown, green and beige as colours to match the interior of the dinning room.

The idea of this design was to create a composition of a 3 dimensional design as a positive image with dark pink, yellow, purple, green, brown and mostly white. The composition of the tablecloth is balanced with a repetition of the March lily - a symmetrical look. The brown rectangle shape is the focal point of the tablecloth. The negative space is the March lily stem which is white that represents 2 dimensional designs.

The border of the tablecloth gives it a beautiful finish provided by the two green lines which worked in a harmony with the ribbon patterns that are pink and brown.  

Firfirey, R. 2011. March Lily hand painted tablecloth. Crawford, Cape Town.

Arts & Design: Tiger Lily runner

Radhia Firfirey,

Tiger Lily,

2011.

Colour photograph.

15000mm×460mm runner size. 

Crawford, Cape Town



Radhia Firfirey,

Tiger Lily,

2011.

Colour photograph.

15000mm×460mm runner size. 

Crawford, Cape Town

Radhia Firfirey,

Tiger Lily,

2011.

Colour photograph.

15000mm×460mm runner size. 

Crawford, Cape Town

The tiger lily runner is suitable for an interior with orange, dark brown and yellow (autumn) colours. I designed this tiger lily runner for an elderly lady. This runner is 15000mm×460mm and it runs across the centre of the table. A runner is a cloth that is placed across the table; it is like putting a ribbon across the waist of a dress. It could give the table a beautiful ending or it could be the focal point. I have read some articles in which they place runners across each other creating a checked board pattern.

The materials used for this product are calico material, pencil, toothpick, and eraser, sent-hick biracial for a paint brush, a big board, masking tape, paper, black marker and fabric paint.

 They call this lily a tiger lily because of its brown spots. The lily was repeated three times in this design with equal spacing. This tiger lily is not an autumn flower but the leaves are autumn colours i.e. yellow, brown, red brown and yellow green.

With regard to the boarder there is an autumn theme of leaves that is situated in between two narrow dark brown lines.  The 3 dimensional leaves have a different colour every other leaf and the colours are yellow green, yellow orange, red brown and dark brown. There are a variety of different proportions in the boarder with a dominance of yellow green. There is also a rhythm play in the leaves that is symmetrical to the opposite boarder. The end result: the yellow orange leaves work in harmony with the tiger lily flower.

Firfirey, R. 2011. Tiger Lily hand painted runner. Crawford, Cape Town.

Art & Design: Rose& butterfly runner

Radhia Firfirey,

Rose &butterfly,

2011.

Colour photograph.
1470mm×530mm runner size.

Crawford, Cape Town             

Radhia Firfirey,

Rose &butterfly,

2011.

Colour photograph.
1470mm×530mm runner size.

Crawford, Cape Town             

Radhia Firfirey,

Rose &butterfly,

2011.

Colour photograph.
1470mm×530mm runner size.

Crawford, Cape Town             

This runner was designed particularly for a teenage girl. The theme of this runner, roses and butterflies, was chosen to match the bedding which has butterflies. The colours of the interior of the bed room are dark pink, beige and brown. There is a saying that roses are a girl’s best friend so I included roses in this design. This runner is used as a tablecloth for a study table. In my research on runners I did not come across one used for a study table. My opinion of having a runner is that you can protect the table top while studying but at the end the table still looks beautiful (cool, funky).

The materials used for this product are masking tape, fabric paint, and paint brush, calico material, mixing pelt, pencil, easer, black marker, paper and a board. The focalisation is mainly on the big red rose that is centrally place with a butterfly on it. The red of the rose brings the gold of the butterfly forward so that the butterfly stands out. The composition of the image is balanced by the two symmetrical small red roses. The different proportions of the butterflies create a playful rhythm in them. The bright colours of the butterflies make it more interesting to the viewer who is aged 11 to 19.

The dark brown boarder crops the composition by giving it a beautiful finish. My client was very pleased with her runner and told me that she would gladly purchase another product from me in the future.     

Firfirey, R. 2011. Rose & butterfly hand painted runner. Crawford, Cape Town.