Professional Practice & Development 2.
- Chapter 1: Aspirations -
Chapter 1: Reports on studios, designers and artists that inspire me. The following pages offer an insight into the creative professionals that I follow and who’s work inspires my own, additionally featured are reports highlighting insightful guest lectures we have had through the university.
Glen Luchford
The diverse imagery of Glenn Luch- ford identifies a narrative of cine- ma and photography which toils with iconic past styling and approaches to influence the contemporary and the now within fashion and art. Luchford’sbeginningssawhimcap- turing visuals for such editorials as Vogue, the Face and Arena; 1997 brought an exclusive signing to Prada where Luchford developed his ongoing clean and dramatic approach to fashion photography. Collabo- rations with Yves Saint Laurent, Calvin Klein and Levi followed along side artist Jenny Savile who together created a body of work titled “Closed Contact” challeng- ing notions of feminine beauty.
Luchford’s most recent partnership entails Alessandro Michele and the reform of Gucci. Michele was ap- pointedcreativedirectorofGucci in January of 2015, after its pre- decessor Frida Giannini left fol- lowing falling sales and boredom arising from critics and custom- ers of her clothes. With Michele positioned as the renaissance man of Gucci original, fresh, and in- venting designs began flooding the catwalks; and Luchford was se- lected to envision the photogra- phy and film of new Gucci. For me the most recent of falls SS17, PF17 and FW17 highlight the most visually exciting, conceptually brilliant and ascetically pleas- ing works by Luchford. The three latest campaigns see Gucci cele- brate the old, building on imagery inspired by antiquities, animals andaliens!Takinginfluencesfrom eras ranging from the 50s, 60s and 70s combining colour and pat- tern to create beautiful works of fashion in turn remixing vintage.
Luchford accompanies the three falls, with three varied yet co- herent fashion films and campaigns that support the decorative gar- ments and celebrate Luchfords cre- ative output. The three films are a festival of classical cinematic styling, Luchford plays with the narrative and design to identify imagery that is an explosion of visual excitement and nostalgia. For me Luchford’sexplorationinto classical cinema, along side hand held camera techniques, soft edits and supportive soundtracks are a fresh and unique creative relief on the fashion industry. His work plays with the old to influence the new, they are a colourful, fun and expressive ultimately portray- ing the form of fashion film as a work of art in there own right.
Jack Sachs
For most creatives an injury to the hand would mean game over, yet for Jack Sachs it was the beginning of something special. Emerging from a traditional drawing and artistic background, Sachs never had a interest in CGI and computer graphics. However while in his third year studying illustration at Camberwell, Sachs seriously damage the nerves in his drawing hand. Unable to draw with his right hand, Sachs was forced to become a lefty but moreover was compelled to shift his illustration process to adapt to his injury. He found consolidation, ironically, within 3D CG.
“They said I might not be able to draw for a long time. I had to have six months of physiotherapy. So in the meantime I started to play around with CG. And now it’s pretty much my job!”
The damaging to Sachs’s hand was a blessing in disguise, as he found his niche. Before the injury Sachs work was purely analogue, it had a quick output and never really felt finished, yet the nature of CG enabled Sachs to produce a perfected and more finalised image. Moreover the introduction of computer manipulation to Sachs work has enabled him to inject movement through animation, offering aspects of narrative and story telling to take form; a feature of Sachs work that wasn’t entirely evident in his earlier analogue works. To say drawing is non existent in Sachs work, would be a false statement, Sachs still uses hand held drawing methods to sketch ideas out and to initialise character visualisations; that then evolve from paper to the screen where Sachs brings life to his sketches, dressing them in a 3D, glossy, smooth CG coating.
“I still draw all the time, but that feeds into what I make on the computer.”
Humour is an evident subject that surrounds Sachs work. At a first glance his colourful characters might suggest nothing more than a weird abstract CG visualisation, but delve a little deeper and a quirky comedic narrative unfolds. The combination of oversized cartoonish features, polished and sleek textures and a childlike colour palette ignite Sachs characters into a world of the quirky, funny and bizarre!
This unconventional aesthetic to illustration has seen Sachs work with some of the industries top clients, from the New York Times to MTV, and notably Tate Britain. Sachs original yet offbeat approach to image making fits perfectly within todays multi-digital society, his illustrations have hit a current digital shift within the creative industries. However ultimately Sachs work represents an extension of his personal humour, which in turn highlight the individuality that is so evident within his work. The outstanding feature from Sachs visual language I feel is his ability to adapt, and evolve; the injury to his hand didn't halter his creative need, rather push him to produce something otherwise undiscovered.
Julian Klincewicz
Putting all you eggs into one basket isn’t a phrase well known to Julian Klincewicz, a 22 year old artist-slash-design- er-slash-photographer-slash-film- maker-slash-musician. The diverse talent of Klincewicz is some- thing to be admired, his explora- tions range from an artistic se- ries encapsulating silk flags and a fashion line entitled “hey, I like you”, to two albums and a sequence of published books show- casing is eye for photography.
However through his already im- pressive list of accomplishments, his adventures into film inspire and intrigue me the greatest. Af- ter being given his grandma’s old video recorder, as a kid Klince- wicz was introduced to the world of VHS; ever since it has been a staple for his process in film. Using the VHS camera Klincewicz encompass’s his subjects through an assortment of hand held camera movement and ‘Woodstock’ inspired edits that deliver visuals of a raw, organic and delicate nature.
His films often reflect a personal output, using them as an avenue for expression Klincewicz transfers his thoughts ideas and messages onto VHS. This experimentation has led him to collaborate with Kanye West, Gosha Rubinsky and Eckhaus Latta among other fashion crea- tives, in turn transferring his love of VHS to the realms of fash- ion film with a professional out- put. Klincewicz’s unprocessed ap- proach to fashion film is a welcome relief from the overcrowded per- fection that is visible in today’s fashionindustry.Elementsofmis- take and accident can be noticed in his works, yet these imperfections reinforces the simple yet power- ful visual aesthetics; creating a unique sense of texture, charac- ter and narrative to his films.
However film is just the starter in a three course meal of Klincewicz! Photography is another avenue of expression for the young artist, bridging the moving to the static. With a tender connection to his films, Klincewicz’s photographs share a similar raw aesthetic, which in turn project his depictions of youth, society and sex in a humane state; without complications or pollution his photographs air an organic essence. “Hey, I like you” forms the dessert, an extension of the artist personal interests and experience; “Hey, I like you” gathers together an assortment of fashion explorations. From jump- ers that referenced Patti Smith, to saffron-yellow turtlenecks, and graphic t-shirts that breath a node to idol-slash-collaborator Gos- ha Rubchinskiy; Klincewicz’s gar- ments act as a mirror, reflecting everything and everyone that has inspired the multi-media creative.
Klincewicz approach to creativity is one to be admired, having al- ready accomplished a lot from a young age, demonstrates whats possi- ble through self lead passion. However his multi discipline approach to image making offers the most interesting aspect of Klincewicz’s work. Crossing platforms from film to fashion and pretty much every- where in between, Klincewicz has managed to produce a diverse visual identity that is ever evolving. The old yet new aesthetic that Klince- wicz generates is another intriguing feature of his work, the mix of analogue and digital processes offers a fresh approach, often with- in contemporary creation there is an evident factor of digitalisa- tion, so experiencing the analogue VHS world of Klincewicz is a re- freshing break. His rather basic approach to visual language breaks down some of the glossy barriers of modern design and transcends the audience into a celebration of the organic, establishing a core visual projection that underlines beauty, fragility and tenderness.
Becky and Joe
The comical, bizarre and curious world of Becky and Joe, (Becky Sloan and Joe Pelling), is visual- ised through the work they pro- duce together. After graduating from Kingston the directorial duo formed a collective called ‘This Is It’ and soon made their first collaborative film ‘Bad Things That Could Happen’. This initial exploration established the pairs unique visual approach, incorpo- rating puppetry and stop-frame an- imation as the basis of their films.
Becky and Joe share a special sense of humour that is at the core of their work, “Don’t Hug Me I’m Scared” highlights the humour and playfulness that brought the pair together. The internet sen- sation has received millions of views, spanning six parts the pup- pet show first aired on the web in 2011 and follows the narrative of three puppet protagonists: Duck, Red Guy and Yellow Guy. On first impressions DHMIS presents itself as a comical educational chil- dren’s programme, yet it is re- vealed that the show holds a dark and twisted reality. Episode One encompasses the three puppets and a singing notebook who together explore the realms of creativity that slowly descends into raw meat chaos. The slow transition from happy, sunny and light to dark, sinister and twisted is what makes DHMIS so unique, through its se- ries the show adventures into var- ious subjects presented though catchy songs that evolve into humorous somber entertainment.
The admirable element to Becky and Joe is their creative approach to image making. The duo mix the old with the new, experimenting with puppetry and animation, through stop-motion to CGI. This mix of techniques and technologies forms a fresh and original framework to film making. Their use of puppet- ry which is evident in DHMIS bares similarities with classic chil- dren’s television such as “Cambric Green” and “Zippy” yet the fuse of CGI and animation forwards the duos work into the contemporary, in turn breaking the boundaries of modern design and film. Beck and Joe’s playfulness with processes continues within music videos for Tame Impala, where they painstak- ingly created a plasticine stop- frameanimation,andUnknownMortal Orchestra, where by puppetry was explored again. Keeping it fun and challenging the different seems to be the pairs philosophy, through the old and the new Becky and Joe make clear that what one can pro- duce when given the freedom to ex- plore puppets, raw meat and humour.
Beepurple - Guest Lecture
Beepurple is Brighton universi- ty’s entrepreneurship support ser- vice. They are there to support any student or graduate with their business idea, freelance plan or social enterprise project. Ad- ditionally they offer a workshop scheme, whereby Beepurple run a five day course teaching students and graduates the fundamentals of becoming a freelance creative.
I came away from the guest lec- ture, presented by Luke Mitchell, feeling a lot more confident about the world of freelance. As I have interest in becoming a profession- al illustrator, learning about the fundamentals of freelance work was veryinsightful,inparticularthe business side of things. Mitchell suggested a must for any freelance illustrator is to sign up to an agency, suggested agencies includ- ed AOI, Heart Agency and Handsome Frank. Being with an agency can be very beneficial to a freelancers career, it offers security over payment details, encourages work load but moreover advertises you as a professional and gets you out there and involved with clients. Another highlight from the lec- ture, was the four different ways to come up with ideas, that Mitch- ell presented to us. These were:
1- Invent something new.
2- Spot a gap in the market.
3- Use your own skills, passions and interests.
4- Make something better.
Overall the talk offered a very beneficial insight into the world of freelance. Before the talk I really had no idea on where you would start to become a freelance illustrator or creative. However after Mitchell’s presentations, and learning about what Beepurple has to offer, I feel a lot more assured that freelance could be a career path for me sometime in the future. Some pointers I have taken from the guest lecture is to seri- ouslyconsiderbeinginvolvedwith a agency, make use of social media and make it benefit you to advance your freelance career, but ulti- mately to think what is the best way to present yourself as a profes- sional and to utilise all the skills you present and that are unique to you. What makes you stand out?
- Chapter 2: Live Productivity -
Chapter 2: An account of past and current live working experiences. The next few pages contain examples of live briefs, projects and competitions that I have been fortunate to have been involved with, over the past year. Through these multiple ventures I have gained a valuable understanding of professionalism within my work, engaging with live projects has strengthened my skills within time management, client communications, but ultimately having a professional attitude towards my work.
HiFest 2017
In its third year running Hastings Illustration Festival gathers to- gether an array of creatives for a weekend of workshops, talks, ex- hibits and selling of work; this year offered a chance to get in- volved with Hi Fest through a va- riety of avenues. Possible oppor- tunities to engage with, ranged from submitting or producing a new piece of work, creating a window mural, working as a volunteer and manning a stall space. I was very interested in helping run the stall space as well as the window mural, as it would offer interaction with the public and other creatives, in turn allowing opportunities to build contacts and gain an in- sight into the professional world.
In preparation for Hi Fest I was keen to produce some new work to exhibit and possibly sell. I fo- cused on making a lino-cut print in collaboration with my fellow course mate Charlie, alongside a series of illustrative christ- mas cards. We settled on Hastings pier as a our inspiration, be- cause we felt it was fitting for Hifest but also commercially we thought we could raise more money if it was a relatable image with the local event. The cat christmas cards I designed was an ex- ploration of playfulness, I wanted a design that was enjoyable and original, but moreover would stand out on the stall to the customer.
The window display was a great ex- perience to be apart of, the whole process was completely new to me, I had never drawn on a window before - so in preparation I practiced on our studio windows to familiarise myself with the logistics of it. I shared the window with two other students and between us, we felt it was appropriate to work in col- laboration; so we sketched up some ideas and eventually settled for a christmas theme. We decided to ap- proach the window with an element of freeness, we didn’t want to be restricted to a set design as we wanted to inject our own personal styles instinctively on the day. The actual process of drawing live was unsettling to begin with as we had an audience, however on re- flection it a refreshing mode of working. The final window mural is a fun and quirky collaborative piece, the two inside windows are my designs and depict a festive scene of decorative presents and santa’s!
The opportunities offered from Hifest 2017, enabled myself to work in collaboration but also to evolve my own personal illustration practice. I thoroughly enjoyed manning the CC stall, I gained and learnt a better understanding of the creative world both professionally and independently, through talking to fellow professional artist and designers but ultimately through engaging with the public; talking about works and ideas. Through including my own works and live drawing, I developed my visual experimental and exploration skills, but overall realised the potential opportunities you can make for yourself. The experience of working on a live brief offered a completely new and unique working dynamic. I wouldn’t say it was more stressful, rather there was a definite sense of perfection to the work; making sure everything was double checked and finest to the best quality, because you are working for a client and representing yourself and who you are as a designer through a public view. My involvement in Hifest opened my eyes to a glimpse of what becoming a professional, artist, designer, illustrator or filmmaker is about, from producing the work to engaging with the public and allowing your work to communicate to a real audience.
V&A Illustration Competition
The V&A Illustration Awards is the UK’s most prestigious annual il- lustration competition recognis- ing the very best in book, edi- torial and student illustration. For the student entry I wanted to submit a piece of work that was personal, experimental and fresh. I decided to enter and build upon my project ‘Nigeria 70’ as I felt it was a strong representation of my illustration work and person- al interests currently. ‘Nigeria 70’ is an exploration into a per- sonal curiosity of mine. The mu- sic from Nigeria during the 1970s is filled with excitement, en- joyment and meaning; the stories behind the music inspires and provokes a message, whilst the ac- companying culture is filled with igniting visual imagery repre- sented through art and fashion, that is so compelling in Africa.
However looking back on my final illustrations, I felt something wasn’t right about them. Viewing them with a fresh eye, I felt the background and colour scheme was somewhat jarring, and needed to be developed. On reflection of my research into the culture of Ni- geria and Africa as a whole, I noticed the significance fashion, in particular pattern design, has over the country. Meaning and nar- rative is expressed through the varied patterns of Africa, yet moreover for me they highlight the exhilarating, exquisite and vivid visual language that is so appar- ent within the music of Nigeria 70. Drawing inspiration from a va- riety of different patterned tex- tiles from around Africa, I devel- oped a series of new backgrounds that highlight a fresh representa- tion, yet still portraying my ini- tial visual narrative intentions.
In contrast with my original out- comes, the final three re-worked illustrations depict an great- er emphasise on personal portray- al. They are a celebration of my own sense, feeling and emotion of the music representative of Ni- geria 70. The adapted colours I feel work a lot better, and in relation with the background each of the illustrations a whole feel more flowing and as one. Through entering the V & A illustration competition I have gained a better understanding of the professional practice and industry, yet moreo- ver it offered myself an opportu- nity to re-visit previous work and really analyse myself and personal visual language. The experience of working on a live brief offered a completely new and unique work- ing dynamic to that compared with a personal or university project. Knowing the work has potential to be viewed to the public, meant I paid extra attention to the fi- nal representation of the outcome.
Hunky Dory
Hunky Dory is a new independent publication, with The 70s Is- sue launching Spring 2018. It’s a biannual for young women whose souls are in the past but their mindset firmly in the future. The magazine celebrates modern-day nostalgia, featuring fashion, mu- sic, style and culture dedicat- ed to decades that influence our lives daily. Hunky Dory is a safe space for women to revel in ret- ro, bask in nostalgia and discov- er the future. Founded in 2017 by fashion journalism student Maisey Brown, it’s a magazine that cel- ebrates the brilliance of decades past while exploring the past’s impact on our future. It pays homage to publications such as Jackie, Nova, and Honey which were radical forms of popular cul- ture aimed solely for young women. After seeing a call out for illustrators on their Instagram page, I contacted Hunky Dory to see if I could submit any illustrations for their zine. Fortunately I re- ceived a reply, asking if i could illustrate a series of Bowie imag- es, but also a portrait of Izzie Derry, a young musician involved with the platform BBC introducing. Working for Hunky Dory has intro- duced me to editorial illustra- tion, engaging to fast deadlines has forced me to adapt my working process, but ultimately enhanc- ing my time management and bal- ancing or work load. Additionally working for a client enhanced my professional communication skills over email and phone, a personal skill that is very valuable go- ing into the real word and interacting with other professionals.
PechaKucha Poster
Presented as informal gatherings, PechaKucha bring together crea- tives for an evening of sharing, discussing and engaging. PechaKu- cha nights are global, repre- sented in over 900 hundred cit- ies worldwide, they allow a stage for creatives to be heard through an analogue portrayal, a rare op- portunity in a world over pol- luted with digital conversions.
From the get go I wanted to cre- ate a poster that captured the es- sence of PechaKucha, describing the ideals of sharing a discus- sion through diverse and dynamic conversions rather that the topics of the presentation. Networking, meeting and sharing were at the forefront of my initial sketches, I wanted to try and visualise the imagery of discussion, and glob- al networking, so I played with concepts surrounding the mouth and talking as well as explorations into the world and global collabo- rations. Through my sketches I felt the approach to designing a post- er around diverse conversation was the stronger idea; going forward I analysed poster design and iconic artist such as Saul Bass, Henri Matisse and Abraham Games who all adopted a simplistic visual style. This minimal process of playing with basic forms and shapes in- trigued me, Bass, Matisse and Games all had a great understand- ing of delivering eye catching im- agery through the bare essential.
Overall the final chosen poster is exciting, engaging and informative through an illustrative approach, the poster speaks for PechaKucha and identifies diversity, sharing and networking. Likewise with pre- vious live projects and briefs I have been involved with, my work- ing process continuous to evolve to a professional level, addition- ally I feel there is more of re- warding feeling seeing the final work out in the real world being used for the commissioned purpose. The process of consulting with the client to get there apprais- es and critiques was another re- warding experiences, as I learnt a lot about working with a client on a one to one basis; but moreo- ver gaining an understating adapt- ing certain ideas to further the progression of the final design.
Secret 7
Secret 7” takes 7 tracks from 7 of the best-known musicians around and presses each one 100 times to 7” vinyl. They then invite creatives from around the world to interpret the tracks in their own style for every 7”. 700 unique sleeves are exhibited before going on sale on a first come, first served basis priced at £50 each. You don’t know who created the sleeve, or even which song it’s for, until you have parted with your cash - the secret lies within. Since 2012 Secret 7” has produced 3,500 one-of-a-kind records for 35 different tracks, selling every single one and rais- ing over £175,000 for great causes.
I decided to choose Jimi Hendrix - ‘Castles made of Sand’ for the single to house my sleeve design. Being involved with a live com- petition made me think about the communication of the end outcome, so I began to explore a narra- tive of social value that I could highlight through my design. Af- ter listening to ‘Castles made of Sand’ several times I felt the song and Hendrix himself was an iconic representation of America, so I wanted to provoke a certain visual emotion in particular di- rection towards American culture, history and politics. The design represents a mixture of these so- cial issues, I didn’t want the de- sign to shout a political message, rather let the artwork and the mu- sic itself subtly allude certain connotations, emotions and ideol- ogies. Through entering the Secret 7” competition I gained a great- er sense to think more about my work on a conceptual level. I felt having a professional output, and by working on a project that was separate to my university and per- sonal work, I could grasp an al- ternative working process that in turn enabled myself to think both conceptually and professionally.
- Chapter 3: Creative Contacts -
Chapter 3: A list of professional contacts. The following pages contain evidence of my personal liaising with professional individuals and companies who I admire and wish to gain experience from, or just to contact and learn more about a specific area of industry.
List of five contacts who I have liaised with:
1- EEL Films
2- MOMOCO
3- David Wilson
4- Beccy & Joe
- Chapter 4: Preparation for Employment -
Chapter 4: The final design for my C.V and online portfolio.
C.V. Content:
(Long).
Creativity needs to be challenged and tested: expanding the limits of what’s possible and what isn’t, to reach an outcome that ultimately communicates, shares, and impacts. My work is an expansion of this; through experimenting with illustration, moving image and graphic design I explore the parameters of my personal expression. The concept of bridging analogue and digital media has always excited me, I enjoy the element of surprise, accident and perfected rawness that it presents. I often play and overlap techniques such as drawing, 35mm and Hi8 film and collage among others, in order to then manipulate this further using the computer and Adobe. This helps my work to gain a sense of tactility, character, and variety; but moreover it has enabled myself to build a unique and personal illustrative style.
Functioning across a multitude of design genres, I am always learning my craft, eager to push myself to discover new possibilities. Through a series of internships, live and self- initiated projects - De Larr Warr Pavilion, Hifest, Secret 7 and Club Creative - to name a few, I have gained a professionalism within my work. Additionally, my past employment, at the University of Brighton and John Lewis Cambridge, has enabled me to have a key understanding of teamwork and punctuality, as well as the ability to adapt to unfamiliar situations, communicate effectively and organise myself efficiently.
From illustration to film, music to painting, the urge to explore creativity is constantly in my mind. I believe in the cruciality of continuing to learn and so my work is constantly evolving. I strive to seek the new and the unknown, spurred on by the need to pursue the ever-evolving visual world.
(Short).
The urge to explore creativity is constantly in my mind. I believe in the cruciality of continuing to learn and so my work is constantly evolving. Through experimenting with illustration, moving image and graphic design I explore the parameters of my personal creative expression. The concept of bridging analogue and digital processes to produce new media has always excited me. I enjoy the element of surprise, accident and perfected rawness that it offers. From producing self- initiated projects, functioning across a multitude of design genres, I am always learning my craft, eager to push myself to discover new possibilities. While studying at the University of Brighton I have gained a professionalism within my work, including a key understanding of teamwork and punctuality, as well as the ability to adapt to unfamiliar situations, communicate effectively and organise myself efficiently.
I strive to seek the new and the unknown, spurred on by the need to pursue the ever-evolving visual world.
Below is a link to my online portfolio and also my final design for my C.V. Click on the nose below to see my professional website!
