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COLLECTION PHOEBE NINER


All about me I am Phoebe Niner an Illustration student at London Metropolitan Universtiy. This book will be a brief collection of the work that i have created over this past year in my studio Give and Take and other work from my year including essays and research and planning from my critical industry practice.


INDEX • • • • • • • • • • • • • • •

Project 1 - Walk the line Sewing workshop Final poster Rug tufting Project 2 - Match and mismatch Photography workshop Final poster Studio workshops Dark room photos CCS esay on womens liberation CIP Market Ready Project 3 - Broad Final outcomes Artist research Photo everyday project


PROJECT 1 This brief got us to explore and challenge the concept of drawing in a Art Direction context. We had to partake in workshops that introduced us to different ways of creating marks. We were all given three words that formed the basis of all our work within this project. We had to research our words, its meaning/s, associations, shape, sound etc and took our findings to form a starting point for our project. From this we had to create nine GIFS, three posters a collabrative rug and a draw everyday sketch book. These are a few of my final outcomes from the project. My words for this project were work, could and clear. At first i wasnt sure how to start and where to go with these words. I then attended a sewing workshop with James our textiles teacher which gave me alot of inspiration. As I enjoyed sewing so much in James’s work shop I decided to try and link my words to sewing itself. ‘Work’ and ‘could’ really linked with the history of women’s rights to work. Women for years were confined to small factory jobs on sewing machines or were told to stay at home and be a house wife. I decided this would be a good path to go down as it really worked well with all of my words.


Sewing Workshop Due to there being issues with the rug stufting gun sara arranged with james our textiles teacher to give as a small induction for working with stitch and fabrics. James taught us various different stitches to help us make unusual effects on the fabric. After learning a few new skills as

well as practicing the ways i already knew James left us to our own devices to ‘draw’ with the thread and come out of our comfort zones to make abstract patterns. I decided to focus on making different shapes as they have a nice bold effect and look great in different coloured stitch.


YES SHE CAN For my final poster i had made an abstract version of the ‘rosie riveter’ posters to get my views across to the audience. I wanted it to be block colour so the image and title stood out and made it bright pink so it would be really eye catching. Although it doesnt look exactly the same to the Rosie posters it still has the same meaning behind it and sends across the message of a strong woman which is what i am trying to promote through my GIFS. The image of the lady in a ‘masculine’ pose really shows the strength that women want, need and have. Showing an ‘aggressive’ pose like the fist being raised protrays that women are fighting for whats right. The “We Can Do It!” image was used to promote feminism and other political issues beginning in the 1980s.The image made the cover of the Smithsonian magazine in 1994 and was fashioned into a US first-class mail stamp in 1999. It was incorporated in 2008 into campaign materials for several American politicians, and was reworked by an artist in 2010 to celebrate the first woman becoming priminister of Australia And to this day the poster is one of the ten most-requested images at the National Archives and Records Administration’. As well as the imagery of the Black Panthers influencing the New York Radical Women through the use of the fist, the mobilisation of women could also been to begin during the Civil Rights and anti-war movements. These posters have been used in many different ways to put across this message of female


COLLABORATIVE RUG

For part of our final hand in in project one we had to get involved in making a collaborative rug. We were given free rein to do what we liked on the rug and make our own patterns with our own choice of colours. The whole class got involed and had there own sections of the rug in the end that they created. Although i had never used the rug tufting gun before after a brief introduction i quickly got thehang of it and it was really enjoyable and easy to use.


RUG

TUFTING


PROJECT 2 We had to be partnered with a furniture student, who would be our client and work with one of their designed objects. We had to find out as much as possible about our client. Find out about the object; what are it’s function? How was it made? Of what material/s is it made of? How do you use it? Where do you use it? Why did your client design/make it? What does it mean to them? How could in function differently? How do you communicate it visually? We then needed to make

a photography-based project that communicated the essence of our clients object that included 2 gifs one as product/designer advert using text and image, one focused on the object and four A6 postcards along with one A3 twosided fold down poster/leaflet. It needed to include a photographic element/process but could also be combined with other processes (drawing, collage, type etc). A small description written by your client needed to be included on the poster/leaflet.


PHOTOGRAPHY


EXPERIMENTING WITH CLAY


Cece Back My furniture student had created these ceramic plates out of an rolling different sports balls across the surface of the wet clay to leave an unusual pattern behind.

fragile nature so its not 1000% ideal. the brief was by a ceramics company called 1882 ltd. to make a ceramic ‘gift’ as ceramics can be viewed as quite dated’

“the plates are golf, tennis, and basket balls. I got to these from a series of experimentation’s of taking recognizable objects and using ceramics to either distort or extract components of the item i made my proto types out of air drying foam modeling clay its a great material due to no drying process being required and takes on textures just like real clay. however it doesn’t mimic ceramics

Cece my furniture student also said that she wanted the ordinary to look extroadinary and the result of rolling the balls across the plate gave exactly that, a beautiful pattern you would never expect. As noone would realise straight away i thought i would encorporate the balls into the poster itself to link the two together in an easy way.


STUDIO

WORKSHOPS

This week we were able to do some life drawing with a lady that came into the university. She began to pose for us and we had half an hour or drawing just in pencil on blank paper.

This week we had a photography workshop where we did some black and white prints in the dark room. Were told to go out in the surrounding area and take photos of things that interest us and patterns that stood out to us. I found alot of things that caught my eye so ended up printing lots of photos.

For the second half of the lesson the teacher dimmed the lights and put on lamps to create interesting shadows, he also had us draw in charcoal and chalk on black paper to make really cool effects. Using the white chalk for the light parts

and charcoal for the dark to made a 3D effect on the page. I hadnt drawn a person in a very long time and first struggled with the proportions but after a while of lining things out and measuring with my pencil most of my drawings came out pretty well and i was very happy with this outcome.

After a while of working out the right exposure times and things like that i was printing away fast and they all came out

really well and especially this one that was a piece of grafitti, even without seeing what the image is meant to be it still has a really cool and abstract effect. This was definitley my favourite.


Throughout time protest groups have used symbols and logos to illustrate their fight and unify their supporters. The Women’s Liberation logo in particular is a very famous image that has been and is still being used in many different feminist movements globally. The image consists of a raised fist surrounded by the astrological symbol of Venus. This image has united women throughout recent history and has been used to protest a variety of issues that have affected women for centuries. In order to discuss how the image has united protests across the years, we should first look at the different components it is made up of. The composition of the symbol itself is interesting. The raised fist, known most famously as the iconic image of the Black Panther movement has been used for countless groups and movements. Throughout all of the protests that have happened over centuries women and men have used very similar, if not the same symbols, to try and get their message across to the public.

Womens Liberations CCS

The imagery of the symbol and its history For most, the fist has connotations of solidarity and unity but for some, it represents aggression. Due to the extensive use of the fist across the world and this use being for very different movements “context is now crucial to understanding its meaning”. Although the fist was never historically associated with a woman, when the Venus symbol was added around the image it completely changed the message that was being conveyed and showed the strength of the female gender. In this case, the Venus symbol is key to recognising which cause this symbol represents. The closed fist of course can be representative of physical aggression and fighting, which historically is a male act. However, this strong fist has been placed inside the astrological Venus symbol. This symbol is made up of two parts - the circle and the cross. Historically, the Venus symbol was first used by Carl Linnaeus in the 18th Century although it was originally developed from Ancient Greek writing. Whereas the male symbol is linked to Mars and the sharp shape of a spear, the Venus symbol is often likened to the shape of a hand mirror or a ‘distaff’ which was a tool for spinning wool. Therefore this symbol could be seen to suggest that women are defined by their appearances or by ‘women’s work’. These symbols are also linked to metals, with the male Mars symbol representing iron, which is hard and strong, and Venus representing copper which is soft and easily shaped. In both cases, the Venus symbol has connotations of


softness and stereotypical ‘womanliness’. Following on from this, for some, the circle part of the symbol is representative of the womb. The juxtaposition of the harsh fist inside the soft womb, the womb that creates life, is jolting. It could suggest that inside the stereotypically feminine shape of the mother, there is an aggression and a fight for change. The fist could also be linked to the ‘Rosie the Riveter’ posters produced during the Second World War. Rather than presenting a meek and soft woman, Rosie is strong, clenching her fist to show her strength and women’s abilities to aid the war effort. If the circle is representative

of the world, which is another suggestion by some, then this could be seen to show the inclusive nature of the women’s movement as a worldwide push for change. Or the combined ideas of the circle as womb and world could evoke the image of Mother Nature. The creation of the modern symbol

The combination of the fist and the Venus symbol, the image of the Women’s Liberation Movement was first seen in in the late 1960s. An Anthology of Writings from the Women’s Liberation Movement called ‘Sisterhood is Powerful’ had the image on the cover which was designed by the editor, Robin Morgan. As this book was widely available at its time of publication during second-wave feminism and has remained in print for over thirty years, the image has become instantly recognisable across the world. The slogan sisterhood is powerful was almost unheard of but in January 1969 Ellen Willis and Shulamith Firestone two feminist women in New York City, created the ‘Redstockings’ of the Women’s Liberation Movement. It was a radical group associated with second-wave feminism. The Redstockings had a vital role in the spread of women’s liberation theory and popularizing slogans such as; the personal is political, sisterhood is powerful, and the politics of housework. The bold, crimson Redstockings stamp was designed in 1969 by Shulamith Firestone and featured the Old English type style which became its signature logo. The stamp was originally created for answering the massive influx of letters addressed to the organization from women around the country. The emblem subsequently became a prominent symbol for women’s liberation ‘the fist’. The collection of writings in ‘sisterhood is powerful’ addressed several major issues facing women at the time such as discrimination and sexism in the workplace. The title was a phrase coined by Kathie Sarachild, a member of New York Radical Women like Morgan. The group ran between 1967-69 and held many public and high-profile protests. It was made up of young women who had been radicalised during the Civil Rights Movement and resistance to the Vietnam War

who felt that views towards women were still condescending. Influences on the symbol and those who used it The imagery of the raised fist, although most famously linked with the Black Panthers and Black Power movement, has been used for centuries. One of the first examples of the fist is this print from 1908. A newspaper called ‘Solidarity’ had an issue with a cartoon image of the fist on the front. It was published by Industrial Workers of the World, a famous international labour union and was released around the time of the McKees Rocks strike in 1909 where workers were protesting for better wages.Similar to the female protest groups of today, the McKees Rock strikers were using the imagery of the fist to show solidarity and to unite them as a group whilst fighting for wage rights. Although in more recent years the symbol has been adapted and linked to other symbols and meanings the underlying symbolism of the fist is always linked back to the idea of union and solidarity. As well as being used for workers rights, the first, as previously mentioned, can be seen in the ‘Rosie the Riveter’ posters of the 1940s. This image became iconic for its originality in a time when women were expected to be housewives while the men went and worked. This poster was turning against those stereotypes as women were fighting to help with the war effort, taking on jobs that they would not have previously done. Rosie’s pose with her raising her fist in a so-called ‘masculine’ stance with the caption ‘Yes we can!’ shows the power of women. This image has shown women globally that they are just as capable as men and that they can work just as hard and genuinely shaped the employment landscape after the end of the war. This image has become increasingly popular since the 1980s and has been used in multiple political campaigns due to its bold imagery. ‘A posters purpose is to draw attention to whatever the advertiser is trying to promote and to impress some message on the passerby. The visual or pictorial element provides the initial attraction and it must be striking enough to catch the eye of the passer by and to overcome the counter attractions of the other posters, and it usually needs a supplementary verbal message which follows up and amplified the pictorial theme. The large size of most posters enables this verbal message to be read clearly at a distance’ in this sense the poster definitely did what it was made to do. The rosie riveter posters were published during WW2 but were very rarely seen, it was rediscovered on the 1980’s and it was widely reproduced in hundreds of different forms. ‘The “We Can Do It!” image


was used to promote feminism and other political issues beginning in the 1980s.The image made the cover of the Smithsonian magazine in 1994 and was fashioned into a US first-class mail stamp in 1999. It was incorporated in 2008 into campaign materials for several American politicians, and was reworked by an artist in 2010 to celebrate the first woman becoming prime minister of Australia. And to this day the poster is one of the ten most-requested images at the National Archives and Records Administration’.As well as the imagery of the Black Panthers influencing the New York Radical Women through the use of the fist, the mobilisation of women could also been to begin during the Civil Rights and anti-war movements. These posters have been used in many different ways to put across this message of female strength and the female ability to be independent. The Black Panther Party In the 1960s the Black Panthers were founded as a self defense group against brutality towards the black community. It was dominated mainly by male leaders but women also played an important role within the group. Women joined the Black Panthers in order to fight against racial discrimination and female rights. For years police killed or incarcerated many male leaders from the Black Panthers, but did not seem to pay any attention to the female members.Therefore, women took full advantage of this and made up over two-thirds of the group which ensured that the Panthers could continue to meet. Due to the number of male Panther members getting incarcerated, women became the majority in Panther marches. There were simply not enough men to continue the movement alone. This is when the role of women became increasingly important to the party. And throughout their years of protesting for rights for black men and women the group used a very well known logo - ‘the raised fist’. They used this just as the industrial workers had used it back in the early 20th century - to show unity and solidarity within oppressed and disadvantaged communities. For the Black Panthers specifically, this image could show that they were ‘fighting’ back against the brutality of the police. For generations athletes and famous performers have raised their fists to show their appreciation for the oppressed people that fought for the rights that we have now. U.S. Olympic runners Tommie Smith and John Carlos who won gold and bronze medals in the 200 meter sprint in the 1968 olympics games in mexico city. As Smith and Carlos walked to the podium to receive their medals they took off their shoes to protest poverty. They wore beads and a scarf to protest lynchings.


And when the national anthem was played, they lowered their heads in defiance and raised their black gloved fists in a Black Power salute. The audience were taken back by this display of respect from the two athletes. This image became known world wide and went completely viral. became one of the most iconic sports images of the 20th century. Current uses for the raised fist Although the fist first surfaced over a hundred years ago it is still being widely used to this day in multiple different ways. Many protests in the 2000’s have included a version of this strong symbol to fight for their corners. Protests for things such as equality for women, abortion rights, the women’s march against the trump administration, racial rights. This symbol has truly gone down in history and helped millions of people gain the rights that we have today by uniting them as one. Even though times have changed and technology has evolved, people are still using the fist to signify solidarity. Last year Hamdan Azhar, founder of data journalism lab Prismoji, decided to explore the use of emojis in viral movements. He analyzed about 60,000 tweets related to hot-button topics like #NoBanNoWall, #NoMuslimBan, #NotMyPresident, #The Resistance, and #WomensMarch to find out which emojis appeared most frequently in those messages.In a blog post for Emojipedia, Azhar outlined his findings.The red heart, tears of joy, the American flag and the raised fist were among the most commonly used emojis. While it’s not surprising that people use the raised fist as an expression of solidarity, Azhar notes that it’s become “a signature emoji of progressive protest.” It even showed up as one of the top five emojis for all of the protest-related hashtags Azhar studied, including #BlackLivesMatter. Showing how people are even using the fist in their texts and social media to express their feelings through the imagery that the fist has shown through time. Even though these sort of rights have radically changed over the years due to the strong people that have fought for our us, and women are still marching for change. In 2017 on January 21st women worldwide marched to advocate legislation and policies regarding human rights and other issues that donald trump had voiced, including women’s rights, immigration reform, healthcare reform, reproductive rights, the natural environment, LGBTQ rights, racial equality, freedom of religion,and workers rights. Most of the rallies were aimed at Donald Trump, immediately following his inauguration as President of the United States, largely due to statements that he had made and positions that he had taken which were regarded by many as anti-women or

otherwise offensive. Again in 2018 on January 20th the anniversary of the 2017 Women’s March, was a reprise protest with coordinated mass rallies, attracting hundreds of thousands of participants, in hundreds of cities, towns and suburbs in the United States, with sister rallies in Canada, the UK, Japan, Italy and other countries. Some of the largest rallies in the United States were held in New York, Washington, Los Angeles, Dallas,Philadelphia, Chicago, San Francisco, and Atlanta. Throughout all of these rallies and protests women have held up signs with the women’s liberation logo. Although it is great that women now have the right to stand up and fight for their rights they are still being oppressed, pay rate is still not equal between genders, women are still having to have illegal abortions due to termination laws, people are still giving and receiving racial abuse and the LGBTQ society still gets abused for their sexualities. Yes the symbol has a very strong meaning and has helped unite millions of different people that have been or are being segregated or oppressed for one reason or another. But over 100 to 200 years later we are still fighting for the same things and the same rights that we still have not been granted. As much as the symbol unites people unfortunately it doesn’t seem to have an effect on changing laws and stopping misconduct.

Phoebe Niner Visual communication.


Market Ready Project For market ready project we had to come up with a product that could be sold to students. We made a booklet and our aim is to ignite people with our creations and generating new ways to inspire prospect students to join visual communications at London Metropolitan University. Accelerator – Christmas market As we were creating a guide book, we decided to look into existing guide books for students. Overall we found that the books usually contained bright colours with an illustrative design rather than photography based. This seemed to be a way to grasp the attention of visual communication students as they can relate to artwork and design. In addition colour naturally attracts the eye which is something we will be considering when it comes to

making our mini guide book as well as the tote bags. Each of these books vary with the amount of images on the page. One is basic, one systematic and the other is rather crowded. Each gives off enough information on the front cover for people to understand what the book is about. All these factors we will consider for our outcomes. Here is some of our personal artwork -


PROJECT 3 For project three we had to use two of our best blog posts from the two previous studio projects to form a copy for a publication. The publication had to be an A3 8 page publication printed on one coloured paper stock, inside the pages should be printed in duo tone or four colour separation. The content needed to be one blog post or a combination of a couple from each project so all together around 500-800 words of text. This was an art direction project so we to make decisions on typefaces, grids, paper, and illustration styles etc. Everything we did had to be considered and

serve a purpose. As Illustrators​ we had to make a final editorial illustrations in any medium ie drawing, collage photography, 3D etc, whatever was our chosen form. It also had to include handcrafted typography at some point in the publication. We learnt how to get a better understanding of layout design and had to research editorial illustration and illustrators. After all the research and practise we had to create the publication in our own style and words. I really enjoyed this studio project.


THE 21ST CENTURY WOMAN Women to this day still march for rights within there gender. Annually there is international womans day where women all over the world come together to fight for there female rights. The mission of Women’s March is to harness the political power of diverse women and their communities to create transformative social change. Women’s March is a women-led movement providing intersectional education on a diverse range of issues and creating entry points for new grassroots activists & organizers to engage in their local communities through trainings, outreach programs and events. Women’s March is committed to dismantling systems of oppression through nonviolent resistance and building inclusive structures guided by self-determination, dignity and respect.

The womens march organisers and followers believe that Women’s Rights are Human Rights and Human Rights are Women’s Rights. We must create a society in which women - including Black women, Native women, poor women, immigrant women, disabled women, Muslim women, lesbian queer and trans women are free and able to care for and nurture their families, however they are formed, in safe and healthy environments free from structural impediments. Women of today have many more rights since the days of the Suffragettes and black panthers hundreds even but there is much more room for improvement. Women will carry on fighting but for now i think these inspirational women should be proud of how far we’ve come.


Massimo Vignelli Massimo Vignelli was born January 10th 1931 and died May 27th 2014 he was an Italian designer who worked in a number of areas ranging from package design through houseware design and furniture design to public signage and showroom design. Vignelli worked firmly within the Modernist tradition, and focused on simplicity through the use of basic geometric forms in all his work. He loved many typefaces such as helvetica. And always said that you should only stick to a handful of the best and most simple typefaces. In the ’60s, we were taking Standard and cutting the sides of the letters in order to get the type tighter. A good typographer always has sensitivity about the distance between letters. It makes a tremendous amount of difference. We think typography is black and white. Typography is really white, you know. It’s not even black, in a sense. It is the space between the blacks that really makes it. In a sense, it’s like music—it’s not the notes; it’s the space you put between the notes that makes the

music. It’s very much the same situation. The spacing between letters is important, and the spacing between the lines is important, too. And what typographers do, what we do all the time, is continuously work with those two elements, kerning and leading. Now, in the old times we were all doing this with a blade and cutting type and cutting our fingers all the time. But eventually, thank God, the Apple computer came about. Apple made the right kind of computer for the communication field. IBM made the PC, and the PC was no good for communication. The PC was great for numbers, and they probably made studies that there were more people involved with numbers—banks, insurance companies, businesses of all kinds. But they made a tremendous mistake at the same time by not considering the size of the communications world. That community is enormous, you know—newspapers, television, anything that is printed. It’s enormous. Advertising, design, you name it.


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