After researching deeper into my subject matter and creatives that could inspire my imagery, I reworked my fashion illustrations to push myself more to use different processes and experiment with my drawing style.
This was my favourite illustration; I combined and layered line drawing with marker pens, fineliners, my own photography and found images to create fashion illustrations focusing on colour, texture and contemporary design. I think this made them fit well with the clean, vibrant still life photography that I have decided to lay alongside them in my publication, to create a strong feature on plant-based dyes and textiles in fashion.
Our group crit on 17th October revealed that my ideas so far are perhaps too textile based and that there is not enough research to back up my ideas as a realistic “manifesto” for fashion change. As I do not want to alter my ideas completely, this has encouraged me to continue and deepen my research into areas that relate to my chosen topic, and ensure that I bring fashion/garment ideas and visuals into my work (as much as I do enjoy to work with art and lifestyle concepts). I do not want my work to focus on textiles or plant dyes necessarily but do want to use this idea in my publication, so will ensure I incorporate this somehow into other visual work – perhaps to be used in illustration or collage for fashion? Showing that I have considered textile methods such as fabrics and dyes while also illustrating finished garments in trends?
I have conducted some research in my sketchbook into fashion illustrators to strengthen my illustration work, and one in particular that I looked at interested me. Elyse Blackshaw’s fashion illustrations are expressive while also being young, fun and contemporary. They remind me of the comments I made on Basquiat’s work at the start of my research, of how I wanted to learn to be more expressive and not to confine my work too much or be too perfectionistic. Her figures focus on colour and texture rather than defined shapes, with a childlike quality.
I have also begun to look more thoroughly at trend reports and trend books, e.g. at Trend Union’s books, the “mode information” website (which stocks styling forecasts, trend books and colour books) and WGSN reports online, to examine the kind of imagery used and how trends are portrayed, described and analysed. This has given me a better understanding of what my publication should include, from the graphics/layout, to text, photography and illustration, and has inspired me to create a broader range of imagery to enable the book to act as a sort of “moodpboard” so that readers can really understand my concept.
I used a variety of image-making methods to make sure there was diversity throughout the zine, very often using hand-drawn illustration and adding colour on Illustrator, as well as scanning in hand-drawn illustrations and typography to create a DIY or diary look. I also used lino-printing to add texture, but edited colours to create a stamp-like effect. Overall, by combining digital and analogue methods I managed to create interesting, diverse spreads which created a collaged, scrapbook look.
I researched emerging illustrators whose work would fit with the theme of my zine – work that focuses on life, vitality, positivity and mental wellbeing, to collaborate with the ‘Take Care’ campaign and design illustrative prints/posters that could be pulled out of the zine.
I started off by looking at creating a clean, contemporary and fresh design for the zine, and designed a minimalist cover combining photography and type. I looked to Trekstock’s existing branding for guidance, especially on their Wellbeing page. However, after considering this piece of work and the aims and audience for the campaign, I wanted to create something younger and more exciting that would draw people in as an exciting publication. I realised I didn’t have to adhere to Trekstock’s exact branding (Yellow Bird Project as an example of one of their projects that has a different look and feel to Trekstock’s own identity) so could be a little freer in the design process. After experimenting a little with some initial page spreads too, I decided to make the zine entirely illustrative with no photography, which I think is more engaging and unique, and also will push me to try new things using ilustration, typography, Indesign and Illustrator.
For my response to the Diversity Now brief, I wanted to create a piece of work that built upon my previously explored interests and talents to end up with something that could still fit within my personal portfolio. As much of my work tends to focus on aspects of femininity and youth I focused my piece on women and girls and the diversity of appearance and style, to send out the message that there is not only one kind of beauty, or one “look” that is acceptable or fashionable.
I combined my photography with digital illustration and type to give my work a fun, creative yet strong message, that we should embrace our differences. This one final image was selected to be entered into Diversity Now 2017.
After initial visual research into other artists’ work and possible directions, I decided to focus my response to the Diversity Now brief towards women and the variations in bodies, style and appearance. I want to specifically challenge the attitude the fashion industry has towards flaws, imperfections, different body types and body choices, e.g. the (lack of) acceptance of body hair, tattoos, piercings and even skin/body differences that cannot be helped.
