These illustrations above conclude how my chosen edits will look with my selected, final background colour. I am very pleased with how these look because these appear quite soft, yet juxtapose the strength of the garments on their own. The creases filled in within the middle of the garment blends well with the background, however, having a thicker outline of the garment still helps the illustration to stand out, adding freshness to the edit, as opposed to harsh black lines.

This is my favourite edit because it relates more to the skin colour theme and it fits well with my brand. This pink is reflected in my other shoots, through the use of skin colour, makeup and styling. The disadvantage of this, it that it is brighter than the other edits. I think the pink appears quite ‘bubble-gum’ but when I tried a lighter pink, it did not show up the outlines as well. The pink edit allows the garment to appear more like a body than the other images due to the tone and I think it would work perfectly as a final piece, as the element of bodies is very conscious within my work.

I am going to experiment with muted pinks as the tone still flows well with my connection of skin colour and the body that I conveyed throughout my work.

Out of all three experiments, I think these edits appear more sophisticated due to the evident contrast of monochrome tones, these shades are always prevalent within fashion and society. The monochrome edits reflect the shoot well as I used a white sheet and a black background – which juxtapose each other. The use of these colours simply animated the garment more than the original image. I also think these are as abstract as the ‘white on white’ edits, as the audience may not know what they are looking at, drawing them into looking at my final piece. Despite this, I think this contrast is quite harsh to look at because there is a strong difference between the two tones. Although the two tones are predominant in my shoot, they appear softer due to the styling of the shoot and the softbox lighting, muting all the colours down.  I think all three edits were successful and strong because they all fit my theme well, but I have to chose what would work better as my final piece, considering aspects of each edit.

I think it would be a good idea to experiment with monochrome tones again, as this was the theme of the 1st body shoot that I am using. It will allow me to experiment with juxtaposing tones, exploring depth and shadowing.

For this edit, I used a white background and used an ivory colour for the outline colours. I think using these colours, makes the garment appear more abstract. If I were an outsider, I would not know what it was and I would be intrigued to find out. I think the ‘white on white’ makes the outcome more appealing than the previous edits because it does not appear overwhelming and is quite aesthetically pleasing. This edit does fit well with the theme as white is a predominant colour throughout my work, mainly from the use of the white bed sheets, it could still connote skin colour too as there is an ivory tone to it. The ivory tone was used to still convey a contrast between the plain white background and the garment itself, allowing the audience to differentiate between the two. It is not a harsh difference.

After experimenting with my chosen final images, I began to find that the brown background felt quite boring and I needed my images to pop more, which could attract my potential audience more. I am going to experiment with other muted tones, but ones that may appear to be more attractive and aesthetically pleasing.  I am going to explore the idea of white on white, pale pink and monochrome.

To add more texture to my finished images, as a step further, I cut down the middle of the image, again using the Polygonal Lasso Tool and then I separated both sections slightly, making the image more abstract. I think that the crumpled paper experiment was successful as it does add texture and depth to the image, similar to how I wanted the illustrations to appear like – this just enhanced the images more. However, I do not think the separations of the images were successful as the initial crumpled paper edit. The separation cuts through the garment and the point of the garment manipulating the body is lost in the edit, I think it was a step too far. I am happy with the outcome of the crumpled paper by itself, I will use this technique to make my images more lively.

After reviewing my finalised images and colours, I thought the images appeared plain and 2D. I wanted to add a 3-dimensional level to my images without editing them too much, so I decided to create a crumpled paper look on Photoshop, this was inspired by Eloise Calandre’s work. This technique makes the images appear more abstract, with the ‘folds’ adding tones and depth to the final illustrations. I achieved this look by creating my own gradient on Photoshop and using the tool to create diamond shapes all over the page like the image on the right.

I then embossed the gradient layer to gain the depth of the warping, proceeding to then cut around the image with jagged lines using Polygonal Lasso Tool to make a sharp finish on the edge of the images. To make the gradient manipulation visible, I then changed the blending options to ‘overlay’ to allow the gradient change to come through and create the finished product of the crumpled paper.

Eloise Calandre’s ‘Corpus’ is made from a collection of images made from 3D scans. These images explore physical space and the body, they convey techniques of blurring, smudging and ‘painted’ aesthetic whilst keeping the realness of a camera. This allows the images to still be clear to an extent, for example, identifying the creases within a dress and recognizing a hand within the image.

I think this research is relevant to my project as I am intending to explore the body but in a digital space, removing the background and identity, instead of using these elements to enhance my work. The abstract work conveyed also relates well to my project as I want the audience to question what they are looking at, instead of immediately knowing what the artwork conveys. This allows the audience to think about my work, giving them a chance to make up their own mind about it.