FASHION, STILL LIFE & SHOOTS
Working with Uncommonly, I have been able to develop my editorial design and digital strategy skills. Not only have I discovered how a magazine is produced and distributed but also acquired knowledge in other key areas of design, which are crucial for me to grow as a designer. For example, learning valuable presentation and pitch making skills, which will always be a part of projects, this has provided me with a guide on how to create a high quality presentations to any of my future clients or when working as part of a team or in a studio environment.
I had the possibility to attend fashion shoots and still life shoots for magazines such Goodwood and Beyond, The St. Regis Magazine. This was an experience was both inspiring and fulfilling, as being interested in photography I had the possibility to work with two very talented photographers Rodger Rich and Louisa Parry and learn about the way photography studios and shoots are run. I was given the opportunity to express my opinion on style or layout and work in a team to create the best outcome for the magazines. This was a very euphoric moment, as I was not only making relationships within the industry but also being accepted as an equal, a designer, as my opinions are taken under consideration.
Graphic and Media Design 3
March 16th, 2019
On the Side
Marta Úrbez GMD
A year ago approximately, I started drafting out what my year out in industry would look like. As many of us have experienced, I haven´t ticked many of the boxes I had initially set out for myself, however, I have ticked many other exciting boxes.
One of my major goals for this year was getting involved in personal projects or any projects where I’d be able to explore the areas of design I’m the most interested in. Which included a variety of topics, but ultimately just meant projects where I had some freedom.
I tried to chase after them or start my own, which didn't seem to come into fruition and being at an internship 9-5, it felt easy to excuse myself for not trying harder. However, the start of 2019 brought me a nice set of them.
In this blog post, I’d like to look back at them and analyse what each of them has provided me with, and how they differed from each other.
The first opportunity was a freelance commission to design the website of a Music Producer. This was an interesting project as I got to work hand in hand with a developer for the first time, as well as being one of the first times I had full responsibility for the Design, as well as timing and budgeting. Besides that, the project gave me major insight into what working for fellow creatives is or can be like; as many times it proved to be more challenging to reach an agreement as far as the visual aspect of the project went.
Generally, this was a good experience as I created a website that I’m happy with despite the many visual, technical and economical limitations I had. For example, one major requirement was to have the producer’s face as the main website feature, which was a funny thing to try to figure out.
The second project was a group effort involving over 60 female and non-binary creatives worldwide. Everpress, a t-shirt company, commissioned each one of us to create a design that would honour International Women's Day. This was a very fun project to be a part of because it was really fast paced and there wasn't much time for overthinking, as well as being my first time selling any of my work. Most of all it was amazing to be featured next to really great designers and artists. (One of them being Ester!)
Finally, what has been one of the most rewarding experiences of my DPS year so far: developing an identity and all of its printed applications for an exhibition. The show is the first one held by 2020 Collective, which unites 20 second year photography students from LCC, who, ahead of their graduation want to kickstart their relationship with the industry.
This has been a great project for many reasons, the main one being that it was great working with fellow UAL students who put full trust in me and gave me something near to total freedom. The fact that it has been a fully student-led endeavour, and seeing how we've been able to pull it off together has been incredible.
It was really interesting to navigate the different aspects of the project without any past experience from any of us, but we all learned a lot through it.
Another aspect of this I want to reflect upon is how I have organised myself to do this while interning. And why it felt like now I could take on side projects - whereas in past internships I felt like they took up 100% of my brain space.
I am having such a fulfilling and inspiring experience at my current internship, that it makes me excited to work as much as I can and take on every opportunity that comes to me. I am having fun with it, which is sort of new, and really great.
A Year Full Of Data
Graphic Media Design
I started my DPS year with a very clear outlook on where I needed to be by the end of it. I was sure I needed to learn information design and data visualisation. But I had nowhere to start, and couldn’t possibly figure out where this might lead me to.
So I started with a series of personal projects and made sure I was always working on something of my own beside my internships. My first experiment was a very personal and abstract one. For over two years, I collected data with my boyfriend. I created a system of positive and negative points for every time he made me happy or sad.
After my initial data set was made, I charted these points in excel. I was sure the visual depiction of this data had to be more than graphs and bar charts. It had to visualise my relationship over every year. I started by choosing a colour palette and setting it for the good and the bad. I then developed some complex shapes to reflect the nature of human relationships.
The second project I did was more documentation based. This was during my first internship in Mumbai. The Mumbai local trains have a notorious reputation of being crowded at all times during the day. If you travel during peak hours, you almost never get a chance to sit. The data was recorded over a period of four months, while I travelled to and from work. The peaks show standing and the lower points depict sitting.
The projects caught a lot of attention and I was successfully able to meet with some information designers and studios to get more feedback! The highpoint was when I got an internship offer from Accurat! the very studio that got me into information design. The logistics didn’t work out, but I am happy I got that far.
(reverse) Engineering an Idea
Auros App from Veronica Jones on Vimeo.
BA Graphic Branding & Identity
Glitch Magazine is an on-going project which is still in the planning phase. Throughout the planning phase I have been researching and trying to narrow down what I want the tone & voice of the magazine to be; what message do I want the magazine to convey.
My aim for Glitch is to be a magazine that highlights different creatives from the design & fashion industry to the music industry. All these industries have a creative process within them and I want to highlight the struggles faced when completing these projects for people to be inspired when they read the magazine. I like to think of struggles within the creative process as a glitch similar to the way a computer runs a program but can still highlight a glitch within code. Within every finished project there are various obstacles that can deter us from finalizing a project or getting to a specific place in our life. This could be various things that could get in the way such as mental health, family troubles or maybe race, sexuality & gender was their glitch within trying to make it within the industry.
The whole idea of Glitch Magazine is highlight and embrace these glitches and use this to inspire the young creative generation. This will be highlighted through creative editorials focusing on various individuals. There are various things that I need to consider taking this project forward. I want the magazine to start out being bi-annual. The magazine will be printed and will contain fashion editorials, as well as a website which will contain short films/interviews about some of the people featured within the magazine. Social media will be a huge part of Glitch as I feel that there are many platforms which these stories should be shared on. I want to have a creative event to launch the magazine’s first issue, as well as a creative networking event.
My reasoning for not completing the project yet, is simply because I personally feel that I do not have the current skills to complete such a vast project yet. I don’t yet have all the contacts I need nor the design knowledge/skills to complete this project. I am currently undertaking actions to rectify this.
Recent opportunities that have come to me are allowing me to gain the knowledge and skills to eventually fulfil completing Glitch Magazine. I have begun freelancing for IN Covent Garden Magazine in order to gain experience working for an editorial magazine. I am also starting a 4 week internship for Dazed & Confused Magazine. Within this internship I hope to gain various skills working within a magazine whose focus is on pop and youth culture. Dazed and Confused magazine shares a similar style to how I want my magazine to be like. Through completing this Internship I hope to network and meet various creative people who I hope to one day be able to work on Glitch with.
As I continue my experience within DPS I hope to further my knowledge to better my outcome of my self-initiated project. I aim to perhaps work on this self-initiated project during my final year at university or after I graduate.
'There have always been collectives, but the fact that so many formerly solo-going illustrators are banding together is telling. In some ways, it’s another sign that illustration is mirroring the multidisciplinary design studio model. As illustration is increasingly treated like a design solution rather than a decorative element, there’s more need for larger collectives that can put their minds and pens together like an agency might. Peepshow may be at the forefront, but we expect smaller collectives (in Germany and beyond) to evolve in that direction.' - https://eyeondesign.aiga.org/why-every-illustrator-should-form-a-collective-right-now/
Starting the 0602 Collective has been really interesting. To be honest, I’ve never taken a leadership role in anything I’ve done in life. But it’s quite fun! It’s completely outside of my comfort zone to organise meetings, delegate tasks and reach out to people, which has also made it an experience of growth for me. I think this is helped due to working with such a talented, resourceful and communicative group of artists who form the 0602 collective. Being part of this collective allows us to share ideas, collaborate and find creative inspiration without feeling like we're all in this on our own. Working together we hope that each of our work and styles will grow and develop, as one person's perspective on a project can be completely different to another's.
Elloise Rosemond, Hannah Balogun, Nicola Reeves, Jasmine Walsh, Laura White, Mark Henson-Dupuy, Claudia Espart, Jack Merton, Katherine Koroleva, Adi Pashalidi Kozelj and Patricia Beja.
To create a name for our collective in the beginning, I created a poll with different names that everyone had come up with and asked everyone to vote for their faves. This resulted in the name Smoothie with a whopping 5 votes in total! A couple of weeks after, at our first official meeting when Laura V got involved, the name Smoothie was no longer (which we were all quite glad about tbh). 0602 Collective was birthed – to mark our very first meeting on the 2nd February, which we much preferred. Our first task was to make a self-portrait - see some of ours below!
Personally, I can already see how this is impacting my own work in terms of having a solid group of people that all have a similar goal in common – to make more work. This somehow makes it easier to find the motivation to create work and not to worry so much about it ‘fitting in’ to a particular brief; in other words, it’s a safe space. Especially as I have often lacked confidence to carry out my ideas as a student, being a part of this collective has helped me to draw out the ideas I have within. I feel as though we have eachother’s best interests because we all want to get something out of this experience and it gives us a platform to share our work and get honest feedback, as well as encouragement when we need it. I’m really grateful to Laura V for coming up with the idea of starting a collective and egging me on to start it off, albeit forcefully (but forcefully in a nice way like when your grandma puts more food on your plate even after you’ve said you’re full), it’s made me really happy to be a part of even though we are still in the early stages.
We had a second meeting where we talked about projects we want to do for the next few weeks. We would like to make work about current events as well as weirder topics, but as it's March *Women's Month* we decided on the word motherly as our first theme. We have our third meeting tonight so I'm excited to see what everyone has come up with.
Illustrations of the 0602 logo by lovely gals Hannah Balogun and Nic Reeves.
My experience working on a short film
From a young age, I have always been a victim to stubbornness, of not admitting that the “goals” I laid out in my mind were not really my own. And because I held onto those goals for so long, I never really saw fault in them. Not to be a drama queen, but for years I tried to convince myself that my dream job was to be an art director. That I knew what being an art director meant when I literally had no clue. You’d think that on the first day of studying design for art direction you’d know the concept right? I’m in my third year and I’m only just connecting the dots now. I suppose what I’m trying to say is that I’ve recently discovered a change in my direction, in art direction…
Let’s go back a little so I can explain myself. From late September last year, I took part as art director in the short film ‘Depth of Field’, a war film about a photojournalist who strives for recognition. Over the course of the next 6 months of making this film, I would uncover so many truths about myself that I didn’t know existed. I had a shaky start in my first two months of production, having an internship at .Cent at the time, I hadn’t really involved myself as fully as I should have done. But being new to this field, I struggled to manage my time efficiently, and therefore prioritised my internship over this film.
As my internship at .Cent came to an end in December, I started to take on the task of art director more seriously. I planned timetables for the art department, initiated meetings, made connections and created documents upon documents of prop/costume charts. I became a ball of energy, spinning round obstacles and jumping over hurdles, all was going great until one day I got slammed down really hard. The director of the film came up to me and said I was leading the art department too much. I was at first puzzled by this statement, wasn’t it my job to do just that? That day I learnt that it wasn’t me who was HOD (Head of Department) but the PD (Production Designer) who was.
Looking back at that now, I was a complete newbie to this so called ‘film world’ that I had never fully understood. Obviously being a design student, the role of art director was different in the media. Needless to say, I was completed beaten down by this fact, I felt as though I had been demoted to servant girl (once again, me being dramatic). I almost always took on the role of project manager in group projects without hesitation. To some people that may sound boring, but I love being in control of any work I involve myself in. That’s why people always think I’m a perfectionist because I truly am.
Nevertheless, I swallowed my pride and let the PD take over. I assisted her with booking appointments at prop houses, continued writing up documents and basically did everything necessary for her to create the vision of the film. Some part of me loved managing the art department, but a small side of me knew I wanted her job. But I kept saying to myself, no, you want to be an art director, this is what you’ve always wanted to do. I had some kind’ve devil angel situation going on and I don’t think it was quite good for my mental health in all honesty.
February began and shooting was going to commence from the 7th. We were all feeling the tension now and were organising our last bits of preparation ready for the day. It had become apparent at this time that the PD wasn’t providing her full attention to the film. And as her distance started to grow, I noticed myself taking on more of the her roles, like going to the costume houses by myself and making the majority of props needed. I couldn’t blame her however, as she was a third year too undertaking her graduate project. But I also couldn’t help but feel that maybe she shouldn’t have taken on the role if she knew she wouldn’t put in more of her time.
And then one day, the producer and director both sat me down and discussed with me that I was going to be the PD now, because I was doing both the job of art director and production designer. I wasn’t necessarily shocked by this statement, because deep down I knew that I had been doing this work. I was just surprised that they recognised it. I had no intention of stealing somebody else’s position, but when a job had to be done and wasn’t being dealt with, I stepped forward. So I did just that. Through 6 days of shooting through the February month, I dealt with dressing, costume attire and organising the look of the set (with the wonderful help of my art department and makeup team). On one shooting day, we even had to work with over 30 extras for a war camp scene, which was such a huge task but we managed it.
The film’s pre production came to an end on the 1st March, and I couldn’t be happier about the end result. This is the first time I have fully involved myself in a short film, and through exploration and experimentation, I am finally finding my new wave. I started this DPS year wanted to enhance my visual identity, and I believe I’m starting to really find just that. Not only is this pushing my professional outlook of networking with other creative people, but also my creativity as a person. I now feel a drive to teach myself more and be conceptual in my thinking. And I can’t wait to see what the rest of this year holds for me. And perhaps a few years from now, I may opt for a different career path once again. But I welcome it. Because I know for a fact that with every hurdle I face, I will no longer be afraid of change. Because change doesn’t represent failure, it opens us to stronger beginnings.
Dulwich Picture Gallery
Jasmine Walsh IVM
Dulwich Picture Gallery Competition
To support emerging creative talent through the Dulwich Pavilion project and Gallery programme
To commission a new mural piece responding to the Gallery collection.
To offer engaging artworks which attract public interest and relate back to the Gallery’s collection.
To build audience awareness of the Pavilion and its key messages.
After a quick briefing at DPG, and visiting the space, I was instantly intrigued by how people ‘find’ or see themselves in Art and Galleries. With the Gallery aiming to become inclusive and enticing to a wider audience, I started to focus on a nostalgic feeling of how I saw galleries at a young age. With no one in Old Masters paintings looking like me, or mirroring any aspect of my identity, even as a woman, I wanted to create something that a younger generation would either see themselves in or not feel excluded from.
A majority of my inspiration for my piece was based on encouraging children, and schools to visit and be attracted to the Gallery more. This element would also bring in a wider audience, such as parents and teachers too. Wanting to use similar themes and thoughts as the Artists in the Gallery, I emerged myself into their manner of drawing women as well as plants, but interpreted this into a more modern style and one that is different from the ‘norm’. Recreating the aspects of old Renaissance paintings into a medium and style that is more familiar and comfortable with current society, this now being digital drawings.
“The Colour Palace will be an inspirational space for everyone to find themselves in art – in line with the Gallery’s founding principles.”
The illustration itself:
As a majority of the Classical work in the Gallery is of landscapes or includes very detailed European landscapes, I focused on an illustration that takes imagery from Jungles and Forrest. This not only widens the subject matter than I could draw and include but would also work well alongside the themes of the new Pavilion that will be a major part of the hoardings location. With the Architecture of the new Pavilion using West African patterns and colour palettes, I wanted the illustrated hoarding piece to not draw away from this. Rather than distracting from the use of light from the new Pavilion, I wanted to add in another element of light.
With the fairly busy and 2D illustration, I considered an 3D element of having a moon, either made of LED lights, glow-in-the-dark paint or reflective paint that could use the light in the open space or add in another element of light. Alongside the bright and kaleidoscope like new Pavilion, this would create more interest to the piece.
I took inspiration from the Gallery for the Moon as a lot of the pieces in the Galleries collection are of a darker colour palette, either form the ageing process or a reflection of the paint at the time. The Moon is also a key element of my piece, so as to play with another aspect of light that the Palace may not.
It overall creates a more children’s book like piece, which would draw in interest from a younger audience and schools.
Having a very Tanzanian/East African illustrative style, such as the large exaggerated nostrils and ambiguously coloured characters, I hoped that the piece wouldn’t make anyone feel unrepresented and instead be a fun outlook and subject matter for the Gallery.
Edoardo Buttinelli, BA Design for Art Direction
For approximately one month now I have been assisting a commercial and fashion director based in East London. Following some reflections prompted by the experience so far.
Marie Alberto, Design for Art Direction Year 3
My passion has always been inclined towards books since elementary school. I still remember the moment of joy when I won my first dictionary book after a dictation competition.
Few months ago, it was with great enthusiasm that I applied at Pavilion Books, an independent publishing house that specialises on illustrative books alongside designers. They publish around 150 books a year under their range of established imprints; Batsford, Collins & Brown, National Trust, Pavilion, Pavilion Children's, Pitkin and Portico.
My internship consists of 4 months extended to 6 months contracted position as a Design Intern.
I collaborate and work hand in hand with the design-in-house team of four wonderful women, the creative director, the design manager, the senior designer, the designer, and myself.
The design intern position is for me an eye opener to the world of design and publishing industry.
A book is written and designed about a year or even more before its publishing date.
Pavilion Books is a small company of less than hundreds of people which allows me to observe all departments working altogether collaboratively.
Throughout the process of making a book, the design team consistently communicates with editors and publishers as well as the production (reprographics) team.
Being a design intern requires a lot of punctuality, patience, proactivity, persistence and ultimately a positive attitude. You will be immersing in a very fast-paced environment where you will be asked to deliver immediately and greatly. You learn as you go but you have to be able to understand as you go, and it doesn’t always happen, so you will have to ask questions in order to do the things correctly.
In Design, Photoshop and Illustrator are huge vital skills to have as a designer and graphic designer, I would consider it as my right hand. During my internship, my colleagues generously taught me a lot of technical tricks and it saved a lot of my time.
All in all, I was able to have a lot of responsibilities such as designing book covers, inside spreads, prepare files to repro for different imprints, and help out the sales, marketing and publicity department.
From my perspective as an art direction and multi-disciplinary student, I thought that being a design intern was quite restrictive and doesn’t give enough room to experiment with other mediums. But otherwise, the experience was worth taking and the amazing people worth knowing!