Oasis and The Zoological Society of London

Sophie Wade - Design and Colour

Sophie Wade – designandcolour@gmail.com


An unlikely collaboration: fashion brand Oasis and the Zoological Society of London have teamed up to create a collection covered In beautiful exotic prints for us to feast our eyes on.

“Meet majestic tigers, playful lemurs and more in our stylish expedition.” Oasis.com

Inspired by the work of ZSL, the prints highlight some of the worlds most endangered animals. Enchanting illustrations of many different creatures from zebras to cheetahs and an array of colourful birds, the prints are some of the most interesting on the high street at the moment. ZSL are really excited about this collaboration and are hoping to promote awareness of their work as an international charity.

About The Zoological Society of London

ZSL is a international charity whose mission is to promote and achieve the worldwide conservation of animals in their habitats. They have active conservation projects in over 50 countries and continue their work at their two zoo’s in the UK, The London Zoo and Whipsnade Zoo.

“Oasis has captured the essence of ZSL and we’re excited that this collection will show we’re much more than just a London zoo.” Kathryn England, the head of commercial at ZSL. thetimes.co.uk


Clive Reeve, Creative Director at Oasis, with the vine print

“There’s been a big trend on the catwalk in animal prints so it seemed a neat fit to ask ZSL if they wanted to go one step further and design a collection based on their animals.” Clive Reeve, Creative Director at Oasis, thetimes.co.uk


The range instantly draws you in on the Oasis landing page with the exotic, tongue in cheek imagery. The look book is a refreshing take on classic high street fashion shoots and we really love this image with the suspicious shadow. Did you spot them in the earlier images?

Oasis again use clever placement of their prints. These are not only flattering but help keep the range unique and exciting, standing out in a competitive market. It is also a great way to fully exploit a hero design across a range.

Left to right – Lucy from ZSL wearing the collection, http://www.oasis-stores.com/gb/blog/oasis-meets-zsl-introducing-lucy.html, Helen from ZSL wearing the collection, http://www.oasis-stores.com/gb/blog/oasis-meets-zsl-introducing-helen.html

Watch this video showcasing the collection here:





Erdem X H&M


The teaser film is out and we are very excited about the latest collaboration of British designer Erdem and H&M.


H&M creative advisor Ann-Sofie Johansson, designer Erdem Moralıoğlu, and filmmaker Baz Luhrmann together on set in England. Image from H&M.com

Established in 2005 in London, Erdem is one of the most feminine and romantic designers to grace the catwalk. Erdem Moralıoğlu, the designer behind the brand, is well known for showering his clothes in beautiful prints and we can’t wait to see what he has in store for this H&M collection.

The collection will reinterpret and represent some of Erdem’s styles focusing on print and delicate craftsmanship.

Of the little teasers we have seen, the prints are looking most exciting. In keeping with Erdem’s classic style, we see lots of florals in bright colours sitting on both ivory and black grounds.

Erdem Pre Spring 2018

“Erdem believes in the power of beauty, exploring historical references and personal narratives in every piece he makes.” Erdem.com

H+M and Erdem Collection

Only to have worked on womenswear, Erdem is taking a giant leap designing also for men. With a very feminine handwriting, we are excited to see how he will take on this challenge.

On the H&M website, Erdem reveals his inspiration for this project:

“It’s very personal,” he says. “The collection reinterprets some of the codes that have defined my work over the past decade. It’s also inspired by much of my youth, from the English films, ’90s TV shows and music videos I grew up watching to memories of the style that defined members of my family. Taking from these inspirations, I imagined a group of characters and friends off to the English countryside for the weekend. There’s a real play in the collection between something decidedly dressed-up and equally effortless.” Erdem Moralıoğlu

Film maker Baz Luhrmann was part of the launchand will continue to work with Erdem and H&M to bring the collection to life. Watch the video below for a sneak peak.

Images from H&M.com and Erdem.com



The Design Museum

laura design

By Laura Newton – designandcolour@gmail.com

Design is a process carried out by people, for people

I recently visited the new Design Museum housed in the former 1960s built Commonwealth Institute in Holland Park in London and drastically renovated by John Pawson. I was there to see the permanent exhibition ‘Designer, Maker, User’.

It was an interesting reminder as to how much we have progressed over the years and the way that we all take design for granted.

The exhibition features almost 1000 items of twentieth and twenty-first century design viewed through the angles of the designer, manufacturer and user, including a crowd sourced wall. It covers a broad range of design disciplines, from architecture and engineering, to the digital world, fashion and graphics. Designer, Maker, User features a bold, colourful and engaging display designed by Studio Myerscough, with digital interactives by Studio Kin’.

Description by: The Design Museum, London


We are looking forward to the California exhibition opening this month ;


Sublitex Guided Tour

sarah design

By Sarah Glyn-Woods designandcolour@gmail.com


The other week I had a flying visit to Sublitex. I thought you might like to see where it all happens.

The office block houses the commercial and administration staff. Manuela and I are grinning cheesily at you!



A beautiful smile from Claudia in the studio where designs are developed either for engraving or digital printing. Sublitex have their own fashion and home furnishing collections as well as producing many custom designs from client supplied artwork.


When an order for an engraved design is placed, the design colour standard is taken out. These are stored in enormous towers which contain hundreds of thousands of references.


Each standard is marked with the date of the first production run which creates the standard to which the colour way will always be matched to limit variation over time. The colour blocks correlate to the full and tones of the colour printed by each cylinder. These are read by a spectrometer and this information is sent to the colour kitchen.


The inks used by Sublitex are modified disperse dyes suspended in ethanol. No water is used and all unused ink is recuperated and batched. Each new print run will start by locating the nearest recuperated inks stored in the numbered drums. The colours will then be adjusted to match to the reading taken by the spectrometer.


The cylinders are again located in fully automated storage towers. There are over 16,000 cylinders in the plant. When a design is to be printed the cylinders must be taken out and queue up…..


This is a queue of cylinders waiting their turn to roll. They are on hydraulic beds in order to move them around the plant. The cylinders are solid steel cores with a copper outer layer into which the design is engraved. This is then chrome plated to protect the soft copper. Each cylinder has a cardboard sheaf for protection.


This is one of the high speed gravure printing presses, highly automated where the operator watches a bank of screens to monitor the cylinder alignment and can quality control the print run. The photograph is pretty awful as the paper was moving so so fast through the press. There was dreadful hooter noise at the end of each print run.


The MS LaRio digital machine is programmed to print predetermined colourways. Jumbo rolls of paper are let off in to the printing area. This always reminds me of an underground train. Again the paper was exiting so fast that the pictures are blurred and from here it is further dried, rolled up and boxed. Digital printing does not require cylinders nor a colour kitchen nor the time and labour involved.


Sublitex use a variety of smaller machines for producing samples which they can match either digitally or with gravure printing. The machines are profiled to work together and here you can see the digital and gravure standards being checked for the quality of the reproduction. Sublitex are the leaders in this technology and Ettore gave me a fascinating tour of the plant.

By having both the latest high speed digital and gravure capabilities Sublitex can offer clients the most comprehensive creative yet economic print solutions. I was really proud to be a member of this forward thinking team.


This is the truck that leaves every day at 10.00 and 14.00 hours taking the paper to the logistics centre M2Log. This is in another town and from here the paper is distributed to various transport companies.

I hope this gives you a flavour as to how things work at Sublitex.


How to develop a digital print

Sarah Glyn-Woods designandcolour@gmail.com

Sarah Glyn-Woods

2014_06_Bath Uni R6-228-Edit

Sublitex is probably the largest European supplier of digital sublimation paper permitting the rapid supply of customer exclusive designs. They also have high speed gravure printing available for larger volumes. Design and Colour Ltd represent Sublitex in the UK.


So you want your own design?

A digital print design has few restrictions in regards to the pattern repeat other than the width of the paper. Sublitex’s paper is 160cm wide. The vertical repeat can be as big or as small as you wish. Panel designs do not usually repeat but are laid out across and down the paper roll as economically as possible.

A panel print


All over repeating pattern

3 If you are planning to have an all over pattern then the design should be supplied in repeat. If the design is not in repeat you will normally be charged a studio fee to make one. When buying artwork you can request that the artist supplies the artwork in repeat. This may cost a little more, but in the long term this will be significantly less than having it done at a later date. What is great about digital printing is that you are not restricted by cylinder or screen circumference size. Sublitex ask that you provide the dimensions of the design at submission, incase the image on the file is not to the desired final scale.

5N778 001

5N778 001

This tattoo design can be made in different repeat sizes to suit different applications and visual results: 5

Image quality

DPI means “dots per inch”, high res means high resolution and you will also hear folk referring to pixels per inch. Which ever phrase you hear at Sublitex they recommend 250- 300 dpi or ppi which is high res. If you want a clean crisp image with great contrast insist on High Res.


Before you hand over a piece of artwork take the time to check that there are no faults. We suggest checking motif by motif as well as tiling out the design, if it is in repeat, to check for join lines or banding. Can you find the fault in one of these elephants? 6 7

Cleaning up

When designs are made up of super-imposed elements you must make sure that anything unwanted is cleaned out of the background. Very faint shadows may not be noticed until after printing if the design is not viewed at full scale.8 Sublimation printing will show every tiny pin prick and as the ink expands slightly these will be more visible.9 91

How to communicate colour

When you look at a design on a screen the colour is back lit and is not representative of solid colour. What you see may not be the same as your neighbour looking at the same file unless you have sophisticated callibration. We recommend that you supply a physical swatch or CAD printout, Pantone references or RGB values of the colours you desire. Different colour mediums have different colour ranges. A colour that exists in acrylic paint may not exist in disperse dyes for sublimation printing. The one thing I always tell clients is that the Sublitex will endeavour to match as closely as possible to the desired result and the sample they produce sets the colour standard that can be reproduced in digital production. Another consideration with fabric printing is that the base cloth on which the design is printed may not be optically white. The surface being matt or shiny, the fibre shape and yarn construction will all influence how the colour appears and is reflected. Be sure to digitally print on the final fabric that you wish to use to achieve the colour rendition that you desire. 92

Design ownership

Do beware of downloading images and designs then reproducing them as you may well be infringing on the intellectual property on another. When you buy a design from a studio they will sell you the design and the copyright. Sublitex own the designs they purchase and those that are generated by their in-house studio. Any design given to a third party will be taken under the proviso that the supplier of the design has the right to reproduce the image. In the case of an infringement the provider of the design is legally responsible.

Did you spot this?