V&A Colletions

On my recent trip to the V&A: I spent the day looking at fabric textures and patterns documenting through photography and quick pencil drawings which I have developed further into my Lithography module work. It wasn’t until I was there and walking around drawing and photographing, not allowing myself to get caught up with the ‘perfect’ drawing and just get something onto paper. It became a process that I feel I need to do more allowing myself the freedom to make a mark on paper and not over think every aspect of what it should or could be became a really nice way of documenting and gathering a lot of content in such a short space of time.

Most of what I was looking at was fabric and patterns, which in my work are two big areas I like to explore as much as I can taking elements and inspiration to then develop into my own work.

Looking more closely at the patterns that are contained rather than the overall garment it is. Looking more closely at the line of pattern and how they are compositionally placed within the fabric.

Drawings I have developed from this the reason I have used red and black they are potentially are going to go from drawing to lithographic prints. Depending on If I go straight with these drawings using certain colours will block out the UV light also if I go the other way and Half tone them I am hoping to be able to get more of a balance of tonal values using two different contrasting colours


I am thinking the top drawing’s are complete but still woking through this one below. Depending on how much I look at them pinned up will determine how much I will keep adding to them. I have found recently that. Having work pinned up in my house even if I have no intention of developing it further or am unsure. subconsciously I am looking at it more than I realise at times helps the missing link click or just gives me enough clarification its ok to stop were I am at.



Window designs

As like with liberty’s Christmas displays other stores have also used a minimal colour scheme again using line drawings and 2D cut out displays which work well amongst bold colours of clothing or that clean minimalistic feel. I think this way of design in my opinion will draw more public attention to stop and look at the work that has been created I guess its like a movie or theatre set in some ways.

Coach’s display melts my heart this was one of the only 3D structured Windows I saw, but still non complicated and again an animal theme like many, The cute creatures become as important as the products being displayed like little furry helpers. Again if I could have seen this at night it would have given a complete new take on the feel and mood of what the windows looked like as from what I could visually see the whole thing is back lit by fairy lights




Sequencial communication

Everyone that knows me, the word ‘Narrative’ stops me from working don’t ask why but it has such a hold over me of what a narrative is! BUT this term our main focus being about Narrative. Just changing up the language and even when the brief states narrative ignoring this and chancing to sequence has allowed me to explore and make work ultimately narrative based.

Storytelling in the 1920’s using distinctly geometric shapes, is this due to the limitations of technology during these periods? not that there is anything wrong as these three videos are amazing for the time period. I have been looking at how the sound is a very important part to telling the stories within certain pieces, These eras the sound is often a similar type of music. Is this to create distinct unique sounds to help set the scene and create the mood?


Stage/set design

When art and fashion collide, even though in my own opinion there is not a separation between the two art is fashion and fashion is art. They cross over so fluidly that you don’t have one without the other they are both forms of visual communication. I guess the way in which they differ can be the production or final outcome would not always be the same.


“As Vogue accurately put it, it was a “set meant to evoke Washington Square circa a century ago.” Simply magical.”




“Set inside of the old Selfridge’s hotel, Erdem sent models around an attic-like room amid overgrown flowers and even a giant polar bear.”






Screen Shot 2018-12-12 at 14.16.28Screen Shot 2018-12-12 at 14.15.56

Screen Shot 2018-12-12 at 14.14.44

“She’ll study each shoot’s theme for weeks in advance, gathering facts about everything, from the location itself to finer points of a photographer’s historical references, and scour flea markets around the world for spectacular and unexpected vintage props.”


Screen Shot 2018-12-12 at 14.14.26






I have taken two parts of Marys interview that I feel are such an important thing to think about and she gives a nice brake down to how she develops and pushes her idea until the final shoot. Her responses hold a set of important working methods and questions which could be helpful across may areas of art and design. This makes me want to explore what are important questions I ask myself? when exploring or developing work. I feel a set of fundamental guidelines and questions would be beneficial to me and sets a guide within my own working process I am definitely going to explore into this area more for next term thinking if anything it will help me to feel more grounded and constantly move forward effectively.

“You do extensive research and create binders for each shoot, but what is the most rewarding part of that pre-shoot process?
I would say the discovery part—figuring out what the look and the set can be. Sometimes it’s very simple or specific, so there isn’t a lot of research to be done, though it’s often more open and will start as an initial idea, which will transform. There’s a lot of material that I come across during the prep that will inform what I bring to each shoot. And the transformation can continue on set, especially when you see it in reality—things are added, taken away. It can be a constant process of editing, exploring, and developing until the last frame is taken.”

“Given that you’ve done so many shoots, how do you keep your ideas and concepts fresh?
This always concerns me, since I hate looking back or repeating. It’s important to me to push the image forward. I think it’s a case of always being aware of images and working out what can be fresh in the picture. This takes knowing what came before, borrowing from that, and then adding some new twist or dimension to it.”

Lucienne Roberts


The Ideal Client

Lucienne Roberts

It’s Nice That worked with Represent Recruitment to explore what makes for a healthy, productive and enjoyable designer-client relationship. We interviewed a range of creatives about what factors they felt were the most important when considering this all-important rapport, to get a sense of what makes The Ideal Client…

Graphic designer Lucienne Roberts has a wealth of experience working across print, identity, exhibition and digital design. Her she talks about her experience with clients of all shapes and sizes, and shares some of the lessons she’s learned along the way.


The way in which design and type is used in her work is clean fresh and exciting. At the same time focuses on meaningful campaigns. What I find really interesting and exciting about the type of work that she is creating thew communication is sometimes indirect, subliminal messages which is really effectively used. This is something I am really interested  in, over the last two years I have looked into this way of design and advertising even if its positively or negatively used. This is an area i want to write my dissertation on in my final year of uni.


Jasmin Dwyer

Australian artist Jasmin Dwyer creates these amazing screen prints using various screen printing techniques.


Screen Prints 4 WaysThese four prints have to be my favourite. The image is ultimately the same, but printed four ways. I am currently studying a module option in Lithograph print, and am expanding my contextual research into other areas of print and drawing. The way she has put these together though multiple layer’s composition and placement of colour makes each one unique. The way in which the colour and over print both work in harmony, it makes me think of my own work I have been creating at the moment removing colour channels when working digitally creating a unique transparency of colour even though its not print making for me is the same kind of idea but just using a different process.

Something & son

When I herd we was going to have Andy Merritt from something and son coming to talk to us. I wasn’t sure what to expect. This quote from there website is a great over-view in what they do but being able to hear Andy Merritt talk with so much belief and passion in there company, allowed me to understand how important and rewarding the process can be.

“Something & Son is a collaborative and activist led collective working across art, design and architecture creating diverse work that is socially and environmentally driven 0ur work inspires the change we wish to see in the world”

The way in which as a collaborative group work on projects getting communities and everyday people involved makes me feel that its as much for them as for the community or area they are working with. When do you ever hear of an artist or collaborative then handing over the ownership and running of the project to the people? within Andy’s talk his work is constantly evolving into bigger things, some of these being a re-invention of what they have done before, but this just shows there doesn’t have to be just a final outcome for any project. Can help to inform your next project or allow growth looking or working from a different perspective.

Farm:Shop | Hackney Council



Car park| London Festival of Architecture


Fashion and moving image

Continuing with research for my current project, I am finding more ways in which fashion is being communicated through moving image. I think that by using this technique is an effective way to show an over-view of a collection as these in particular link to various fashion weeks this process is being used all over the world for this purpose. It allows a quick interesting insight to the designers collections of work, in my opinion more so than just a photograph. They catch your eye quicker and hold your attention for longer than  photograph due to them moving so quickly from each model. For me it makes me want t know more about the designer or the brand compered to looking through a static collection can  transitioning one image into another. Gives you a feel of the mood the collection is trying to create as a body of work. I would love to explore this way of communicating more within my own practice.


DECO gif Paris SS16OCCULT gif Paris SS16



London AW15 GIFs | Dazed



Milan Fashion Week GIFS, SS16, Dazed Digital

Richard Avedon

I stumbled across Richard avedon the other day instantly being drawn to to his fashion photography.


Veruschka, dress by Kimberly, New York, January 4, 1967

Veruschka, dress by Kimberly, New York, January 4, 1967.

The way he captures the movement of the model in this photograph, its like you can feel hr movement as he captured the shot. I am thinking to take images that creates this feel of moment couldn’t of been easy (even though he makes it look so) especially back when it was taken. I think there was so much more to the world of photography then more of a ‘realness’ if you like as there was no Photoshop to fix areas or any sort of filters or lighting effects that can quickly correct problems. I think it was very much more about the photographer, the lighting and the model. Maybe that is why I am always drawn to photography and photographers from this period of time? These two photos below show the same quality’s I think he had a distinct way of capturing and communicating his work that I find really interesting.

Veruschka, dress by Bill Blass, New York, January 4, 1967

Veruschka, dress by Bill Blass, New York, January 4, 1967


Twiggy, hair by Ara Gallant, Paris, January 6, 1968

Twiggy, hair by Ara Gallant, Paris, January 6, 1968

Even with his later work and the use of colour, I think a lot of his principles remained the same and still he manages to hold onto those quality’s and the realness within his work.

Kate Moss and Aya Thorgren,  Versace Spring/Summer 1993 campaign, New York,  November 12, 1992

Kate Moss and Aya Thorgren, Versace Spring/Summer 1993 campaign, New York, November 12, 1992

The Comforts Portfolio, #04: A Fable in 24 Episodes, Montauk, New York, August 1995

The Comforts Portfolio, #04: A Fable in 24 Episodes, Montauk, New York, August 1995



HP Reveal

With the use of this software creating an augmented reality experience. Placing something that is not there but with the use of the app is there in real time and a real space. This is something I have never done before. Still keeping with my theme regarding Fashion trends. Bringing my own way of communicating with this through a series of layered Gifs.

The desktop software to make the work and the app to experience what I have created. I am not going to lie I feel disappointed with my experience of this as everything is running perfectly on my computer but feel let down by the app, yes in a way it does work but doesn’t always capture the work or pick up anywhere from my trigger image. Only one of my Gif’s runs properly using the app. Is this due to the complexity of my Gifs I am thinking is it due to the multilayered and high use of colour or just simply as its an app, which your not going to achieve the resolution as a stand alone Gif or animation would hold?

Am currently creating a presentation on how it all went watch this space for an updated version with visuals of this.