Cip collection final

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Contents About me 4 About ths module 5 Kate Morros 7 Massimo Vignelli 8 Fig Taylor 9 Pastiche 10 Market Ready 11 Kickstarter 16 Case Study 18 Project 1, Author 24 Project 2, Reporter 34 Project 3, Genius Loci 42 Visits 50

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About Me

I am an illustration student at the John Cass Art school. I am currently in my second year of study. My preffered way of working involves hand craft and manual labour as opposed to digital means of design. However, i have learnt over the course of my degree that combining the two can create beautiful results.

Within my work i frequently use print based methods such as Screen, lino and monoprinting. I am a keene mark maker and enjoy producing line drawn illustrations in an exspressive manner. I have also grown to love bookbinding and letterpress practices.

I have accumilated all of these attributes into my way of working and have expressed it through the style of this publication.

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About this module

The creative industery practice module has provided us as students with an insight into the profesional working world within our chosen field. The projects test our teamwork skillls, enourage us to meet deadlines and practice creating products that would be ready for production and sale. I have learnt about self-branding, Costing and presentation.

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Kate Morross

Thoughts of The Week

Kate Morross is an illustrator, art director and designer. She can’t live without music, sugar, meat and a pen and paper.

She has always been creative and has freelanced since her first year at university. She comes from a creative family and says that this has influenced her as a practitioner. Morross focusing on good ideas behind her work over aesthetics.

A lot of Morross’s work involves pattern and geometry and making something bigger out of lots of small components.

If she wasn’t an artist she would like to be an electrician as problem solving is something she enjoys.

Ways of working and kate morros I need to develop my own ways of working. I know what practices I have enjoyed in the past and foolishly have failed to continue them and apply them to my woking process. Recently and in the past print is something that I have really enjoyed. I have also grown to love letterpress practices. If I was this to be something that becomes part of who I am as an illustrator I need to play around with these practices more often and relate them to different subject matter. The more I use these techniques the more I can learn to improve them.

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Massimo Vignelli

Massimo Vignelli, who turned 81 in January 2012, has been practising design in New York for nearly 50 years, during which time he has made a big impact on all forms of design, from graphic design, to furniture, to clothing.

Massimo Vignelli talks poetically about type. Not just type but also what type is made up of. He discusses that it is not made up of the letters but it is actually the white space that is important. He talks of how it is in fact the white space in and around the type that forms the shapes.

I find this beautiful. I do not have much knowledge of typography myself, although I have recognized that this is true when working with type before. The way the letters distance themselves from one and other can make all the difference. Through practices such as letterpress I have learnt that the spacing and white space can but just as important as the words themselves.

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Fig Taylor

As the AOI’s resident Portfolio Consultant, Fig Taylor has been advising illustrators on how to make the best of their

portfolio since the 1980’s. Author of How to Create a Portfolio and Get Hired: A Guide for Graphic Designers and Illustrators, Fig has run her own illustration agency, and subsequently worked for several others, giving her a wide overview of the industry and a wealth of valuable experience.

On meeting her she shared with us her best advice. She adviced that university portfolios and proffessional portfolios are very different; a proffessional portfolio needs to be selective. The work you show needs to be relevant, therefor , she encourages that people should do their research befprehand to make sure the employer is only seeing what they are interested in. Fig Taylor was humurous and gave a very educational talk .

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Pastiche 1560 pastiche paˈstiË?Ęƒ/ noun 1. 1. an artistic work in a style that imitates that of another work, artist, or period.

Through the use of video, we are expected to create a primary level of understanding about social media content delivery that highlights a professional skill level of negotiation, project management, recording, communication and presentation.

The brief asks of us to create a 15-60 second video clip that demonstrates your critical thinking about someone of influence and creative importance. The video needs to somehow comment on the influencer whether it be about their style, personality or career.

Maricor/Maricar is a twin sized studio specializing in embroidered illustration and lettering for publishing and advertising. They also direct custom lettering design. They are sisters based in Sydney.

I find the playfulness and the colour of their work inspiring and it makes me and others feel happy to see. This is something I portrayed this through my pastiche 1560 video.

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Market Ready For the upcoming Christmas market, Sunday Up Market, we are on the path to creating our own product and brand.

Its not easy to know where to start with a project like this so as a group we decided to come up with a product and brand ourselves around it.

We began by thinking about the target audience. Seeing as it will be a Christmas market we decided to think about what people are going to be looking for. we settled on items that could be bought as gifts such as prints and cards. They are also likely to be tourists, given that the Brick lane area is extremely popular among tourists.

As illustration students, we decided this would be a brilliant way to get our own work out into the public domain. we first discussed the key ways of working that we enjoy within our creative field. screen printing was common ground for many of us. As a result of this we thought about creating prints.

Being realistic we decided to think about an un-costly way to produce products to sell. Screen printing is a cost-effective way of creating something that we enjoy using facilities that we can make the most of. It also broadens our horizons as we are able to create bags as well as posters and cards. We are all fans of block colour and discussed that we fine line drawings really appealing. The bold colours will bring these drawings to life.

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Kickstarter

Within the Kickstarter module I am art of the ‘War of Art’ team. As a group of aspiring illustrators, our plan is to create a card game that educates and uses our own designs. We wanted to continue with our plan to produce our own illustrations, however we decided that we needed to divide this workload more equally in order to promote each and every one of us. We brainstormed some ideas for interactive printed products and games came to mind. We began thinking about producing just packs of cards illustrated by us but decided that that this was not unique enough. The game we came up with is similar to the classic top trumps Each card is a different designer/ artist that has inspired us as a student in the field.

My role within the team is to Produce my share of the Illustrations. I selected my four artists based on the ways that they have helped and inspired me within my own work. I drew them all in my favourite line drawing style using black pen. I thought this would be easier to manipulate when edited and expresses the way I usually work.

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Case Study The Changing Attitudes towards women of colour and the cosmetics industry Student No. 15023528 Tutor.

Joseph Kohlmaier Date of submission: 16.02.17 Synopsis This case study will discuss the turning point in attitudes towards Women of Colour and the impact this has had on the cosmetics industry. It will explore what was available to women over the past century and what is available in our current age of science and technology. Has the cosmetics industry changed for the better?

In our western society, there is a serious lack of beauty products available to women of colour. Before the 1970s almost all cosmetic products in the western world were targeted towards women who wished to reduce their ethnic appearance. Through the 1960s and 70s Motown era and the developments in Blaxploitation film caused some significant change in attitude towards black culture and women of ethnic backgrounds.

This critical transformation specifically helped cement a new image for African American women and 18

people began to embrace their culture visually, rather than attempting to change it. Changes within advertising illustrate categorical developments within the equality of cosmetics products and changing attitudes. However, ethnic groups are still being widely ignored within the modern society. There are far more products available for the white Caucasian woman. Changes in science and the developments in cosmetic surgery are now also offering people with the ability to physically change any part of themselves that they dislike. Through this practice people are undergoing de-­‐racialisation surgery and this is demonstrating that previous stigmas and anxieties about cultural appearances are still very much continued in today’s diverse western world.

Racial differences and stereotypes are a part of societies history. More often than not white features have been considered the ‘supreme’.

Dating back to the 16th century, the cosmetic ideal of white skin was the model of pure luminosity.

European women strove for a shade of untainted white, they aimed for the skin to be so refined that it was almost transparent and absent of colour.

This idea of clean white skin was a symbol of purity. Black skin was imagined to be thicker or doubled, almost like a mask that did not assist the passage of light. Despite changes in knowledge and understanding of the human body and changes within our belief systems, racial stereotyping continued to exist. This has had enormous impact on the availability of products made for women of colour and how they are marketed.

skin even faster”. The triple strength formula seems questionable and the campaign appears incredibly racist by today’s standards.

The 1960’s held many of the same hair and fashion trends as its previous decade such as wigs, chemical relaxants and bleaching creams. Nonetheless,

Prior to the 1970s, makeup and cosmetic products for black women did exist. However, the target audience was not well considered and many of the products available still held up the ‘white beauty’ philosophy. Straightening serums and skin bleaching products were widely advertised. Ebony magazine, founded by John H. Johnson in 1945 was the popular lifestyle magazine for black audiences; the magazine still remains very significant within black culture.2 Early issues display advertisements for companies such as Black and White Bleaching cream and Nadinola.

Fig.1 is an advertisement taken from a 1949 issue of Ebony and is a prime example of the type of products that were accessible to women of colour. The manipulative tone of the media suggests the pressure that women were under to alter their ethnic appearance. The fair skinned model is used to advertise the product as a way to “lightens 19

Some changes were slowly beginning to take place; between 1964 and 1966 coloured people and Negroes ‘became’ black people. The Civil Rights movement was morphing into the Black Power movement; and black people were beginning to adopt new a new black-­‐ identified visual aesthetic. This new aesthetic was not only an alternative to straight hair but actually celebrated it. 3 Influences such as the Motown era had significant impacts on the visual identity of African American men and women.

The Motown record label was responsible for kick-­‐starting the careers of many talented Black musicians.

Although the transition of Motown music took three decades to come to the forefront of the mainstream music industry, once it made its break through talented black artists such as Diana Ross and the Supremes became role models for young women and were successful in burying racist attitudes of early cosmetics.

Consequently, there was a shift in beauty standards by the 1970’s, women were not trying to fit in with the mainstream hair and fashion trends but were pursuing versatility and flaunting their pride.

Revolutions were taking place within popular culture, such as Blaxploitation films and the general media. There was not only one skin tone or hairstyle that stood as a representation of black beauty.

Beauty advertisements from the 1970’s issues from Ebony Magazine (Fig.2, Fig.3) show a huge contrast to the westernisation displayed in Fig.1.

There is a new focus on the natural hair and how to manage Afros. Advertisements for relaxants and wig were still being displayed, but they weren’t the only option available. Fig.2 displays a makeup advertisement for Avon. The makeup product that is being sold is non-­‐audience specific, demonstrating a huge step forward for how Black women were being seen in the media. Blaxploitation was a term coined in the early 1970’s to refer to black 20

action films that were aimed at black audiences.4 Actresses such as Cicley Tyson, who wore an Afro in the television series Eastside/Westside (1963) offered an alternative image of African American femininity (Fig.4). Her Afro became a badge of honour long before the Afro gained wide acceptance within the black community.5However, whilst inspiring other black women to embrace their culture and appearance; these changes were typically targeting black audiences.

Ebony magazine was a magazine marketed for black people similar to that of Blaxploitation movies. Ultimately, African American role models and beauty figures were not necessarily reaching out to society on a whole. wWithin the media and on the shelves women of ethnic minorities and darker skin tones are still consistently being ignored today.

According to the latest UK Mintel report, published in 2009 the market for black or Asian beauty products in the UK is poor, it makes up just 2% of the total market for women’s haircare skincare and makeup which is well below their percentage of the population.

I recently Visited Champneys Beauty college, Chancery Lane, London to find out first hand what some of the young aspiring Beauticians from varied ethnicities had to say about the cosmetic products that are available to them. One of them students said “Only recently there’s been more variety in makeup for black women, but its still not seen in mainstream drugstores such as Superdrug or Boots. If they sell the product its usually out of stock or the wrong shade and makes me and my clients look grey. Sleek is one of the only high-­‐street products that is useful to me, other than that it’s too expensive.”

Makeup artist Bobbi Brown spoke of when she began as make-­‐ up artist she has to “create the colours for darker skinned models by hand-­‐ they just weren’t available.” 7 This gap in the market is constantly reinforcing out-­‐dated notions of white supremacy. This is only strengthened by the modern medias technical ability to manipulate images digitally and the growing knowledge of science and medicine.

Women of colour are being celebrated in the media all the time and there are many Black and Asian role models in the public eye.

Nevertheless, often when women are being recognized for great achievements such as Gabourey Sidibe’s Oscar nomination for her 21

role in “Precious”, highly respected magazines such as Elle sustained the need to whitewash her in order to feature her image on the cover.

(Fig.5)8 Over the past decade, depictions of coloured women in the media have increased but finding a true and positive depiction of women with darker skin tone or natural hair is still nearly impossible.

Developments in science and surgery have also created a greater ability for people to have more control over the way they look. In the channel 4 documentaries ‘Bleach, Nip, Tuck: The White Beauty Myth’ examine the growing trend in de-­‐racialisation surgery. Professor David Dabydeen speaks of whiteness broadly being considered the ideal within society whether it is admitted or not.

Stars such as Michael Jackson are referred to as inspiring by members of the British public who wish to change the way they look and westernise their appearance.

The documentary follows Jet, a young black woman from Essex where the population is 97% white.

Jet is dreaming of having cosmetic surgery to make her nose appear “less Caribbean”,

she goes against her own roots because she feels as though her broad nose makes her “look poor”.9 Westernisation surgery is thriving across the globe. In south Korea, the documentary proved that no facial feature is off limits with their specialists performing “double eyelid” and “face smashing” surgery in order to create a more westernised resemblance, as the most popular form of cosmetic treatment. Some of the people featured in the documentaries talk of the racial abuse that they are still encountering daily. A Bangladeshi woman Tahira said she “feels pressure from her community to have lighter skin” she uses illegal lightening creams that have no ingredients label and could be doing her damage.

However she is willing to take the risk. Her 12-­‐year-­‐ old daughter helps her to research her best options to be “whiter” emboldening worries about her own appearance from a young age.

it takes accepted into the western society. The cosmetic market of today is Planting self-­‐doubt amongst people of many different backgrounds whilst they are left to feel unconsidered. This is only heightened through our impractical use of modern science and technology.

In conclusion, ethnic minorities have conquered a lot over the past century. Through transformations in music, film and the media there is now a far wider recognition within our cosmetic world. Nonetheless, history continues to repeat itself.

We end where we began; a woman who feels her darker skin tone is not sufficient to be entirely accepted into our mainstream life. People are undergoing harmful and dangerous methods to do what they feel 22

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Project 1 Author

An exploration into the unseen city of Southampton, An investigation into Southampton’s direct association with industrial materials and destruction.

The relationship between text and image is used to explore the overwhelming importance of architecture throughout its history and how it has created the generally adverse area that it Is today. Through multiple creative techniques ad practices, the narrative of Southampton has been written.

A collaboration with Southampton Solent university BA illustration students. Research and imagery provided by Solent has been developed using using a variety of creative mediums in order to create a narrative.

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Risograph outcome

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Collage

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Reporter

This second project looks at the inter- relationships between location and experience We explored geographic locations around London and recorded the wealth of experience and narratives contained in the physicality of the location.

Focusing on the recording of experiential narrative, the translation into visual narrative and the creative integration of experience and image across different media and processes.

This second project looks at the inter- relationships between location and experience I explored geographic locations around London and recording the wealth of experience and narratives contained in the physicality of the location.

Focusing on the recording of experiential narrative, the translation into visual narrative and the creative integration of experience and image across different media and processes.

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Drawing on Location

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Outcome

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Genius loci Crystal Palace Genius loci ˈləʊsʌɪ,ˈlɒkiː/ noun 1. the prevailing character or atmosphere of a place.

Project brief aims This final project looks at re-engaging children with their local surroundings. Visually reminding them (and their parents) to pay attention to the history and culture of their local areas. Children are in danger of ignoring the beauty and antiquity that surrounds them due to the increasing use of technology that can be very asorbing taking them away from the outdoor well. Through artworks focused on a variety of perspectives from specific locations that have been forgotten I will educate children about culture and history that has gone unnoticed. Locations that will be selected are in close proximity to schools to create a clearer message to the target audience of children.

Outcomes need to be engaging visually and interactively. It is important to share how the atmosphere of a place can change with different knowledge and from different physical angles.

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I created an interactive poster zine for children. I decided that it would be a suitable addition if it included a printed poster for parents to keep. The zine includes colouring pages and information about the palace and the subways history. This will help them to show an interest in helping educate their children on the history of the local area. The main zine will include illustrations activities and information on the history of the crystal. In addition, the zine will fold out to reveal a carefully designed printed poster that can be framed or displayed.

The poster will use the colour scheme of the rest of the children’s zine.

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Southamp

ton

Upon a visit to south Hampton for our Author project we had the opportunity to get a feel for it as a city and expand our knowledge.

We began by visiting the Solent studio at Southampton university and had a chance to get to know the students we would be collaborating with. We were given a really warm welcome and got a chance to see another studio space and how it works for them.

The Solent studio felt really motivated. Their space was full of colourful work and the walls were shrouded with inspiration.

Meeting the Solent students made the collaboration seem more realistic and gave us more of an incentive to share our work on the online shared document to work with.

After this meeting we ventured out to take a walk around the area to get a feel for the place that we would be studying. I began to notice the huge contrasts that were displayed between modern industrial buildings and historical architecture.

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