Dr Marten’s, a well known boot & shoe maker, have been in and out of fashion since 1947. Originally made as comfortable boots for the army, they grew to be fashion icons in the early 1980’s with punks; in the 1990’s, popular with the grunge scene and also earlier than this, controversially, worn by skin head groups. Sales dipped in 2000 and stopped being made in the UK, until 2007. Recently sales again have been improving as fashion labels have been seeking more retro styles. With this in mind, The ICA (Institute of Contemporary Art) want to commission a fanzine investigating ‘The DM’. The fanzine should look at the positive and negative images of the boot.
Dr. Martens Made in England range is created at the unique Cobb’s Lane factory, which has been producing footwear for the Griggs family since 1901. It is the home of the original Dr. Martens boot. Within these modest factory walls work a close-knit family of people steeped in traditional shoe-making methods.
Back in the 1950s, when the first generation of teenagers fired up a youth revolution, their goal was to look and behave differently to their parents. Previously, young people had been stylistic carbon copies of their elders. But with the advent of first-generation rock 'n' roll and also Teddy Boys, a generational schism cracked open that would never again be rendered shut. http://store.drmartens.co.uk/t-‐social-‐responsibility.aspx http://store.drmartens.co.uk/t-‐aoim.aspx
“Zine (abbreviation of fanzine or magazine) Zines are usually experimental in nature and is most commonly a small circulation cover a wide-range of topics. The benefits publication of original or appropriated texts from being self-published include being and images. More broadly, the term incharge of your own content and not having encompasses any self-published work of to keep to rules made by the publisher – this minority interest usually reproduced via often means they are not censored and can photocopier.” contain controversial content. Zines are written in a variety of formats, from computer-printed text to comics to handwritten text. Print remains the most popular zine format, usually photo-copied with a small circulation. Topics covered are broad, including fanfiction, politics, art and design, ephemera, personal journals, social theory, single topic obsession, or sexual content far enough outside of the mainstream to be prohibitive of inclusion in more traditional media.
Example of Zine Work using Typography From observing this collection of images in a zine I have noticed it is completely based on abstract typography. I like the different styles of hand drawn typography and with the use of characterizing the type itself into little creatures and cartoons. The way the tones have been created by cross hatching the type and adding different mark making techniques is also very effective. Although I chose to research into this Zine, the next stage for me is to research into illustration artists for inspiration into how to contrast my own illustration for the Zine Design Brief.
David Foldvari “David Foldvari was born in Budapest, Hungary, but has lived in the UK for the last 20 years. His work often tackles issues of alienation, identity and belonging, formed by a preoccupation with his eastern European roots, combined with his experience of growing up in the UK. David's work is bold, darkly humorous and often political in tone, his considered and energetic draftsmanship having led to a prolific output both personally and commercially. Some of his previous clients include the New York Times, Greenpeace, Random House, Penguin Books, Dazed & Confused and Island Records. In 2007 he earned a D&AD award for involvement on Nike Run London and for his input on Beck's The Information.”
Emily Forgot is the appropriately curious moniker of London based Graphic Artist Emily Alston. Having been working in the creative industry since graduating from Liverpool school of Art & Design in 2004 she has amassed a diverse range of international clients, from cultural institutions, advertising, retail, publishing & editorial. Embracing the odd, the everyday & the sometimes surreal Emily Forgot’s playful visual language and image making continues to innovate, evolve and surprise. With each new brief comes new ideas and fresh inspiration resulting in each client having a tailor made solution. Turning her hand to anything from illustration, retail display, print design and visual identity she prides herself on approaching all briefs with creative thought, originality, humour and beauty in mind, whether the work be a commissioned piece or a flight of her own fancy. Her enthusiasm, curiosity and eye for detail have stood her in good stead so far gaining recognition in publications such as the Creative Review, Vogue, ID, and Grafik magazine as one to