Monday, 14 May 2018

OUGD603: Bibliography

Bibilography

Cafe Royal Publishing Co
Joseph Koudelka, The Black Triangle
John Berger, Ways of Seeings
Roland Barthes, The Fashion Image
Massimo Vignelli, The Vignelli Canon,
101 Layouts, penguine
Hand Job, Mike Perry
DIY vs Gloss in Editorial Design, 
Graphic Design: a users manual, Michael Beiruit
The Little Typography idea book
Vogue, Dec 2017
Vogue, Jan 2018
Vogue, Feb 2018
Harpers Bizarre U.S, Mar 2018
Vogue, Mar 2018
Vogue, April 2018
Vogue, May 2018

032C - S/S, Frank Ocean Cover

OUGD603: End of Module Evaluation 01

Extended practice has been a challenging module, balancing the work between what I need to be doing in the creative industries so much as my personal styling practice. The fusion between extended practice and the working world has allowed me to use paid jobs for the module, making the practice not just restricted to a classroom environment. At the start of the year I found balancing university work and Leeds RAG Fashion Show 

Working with photographers has been extremely enjoyable throughout the whole 8 months. Working with images has been enjoyable as it lets me indulge personal interests, primarily around documentary and fashion photography.

I stretched myself way too far, actually doing 14 briefs this year, but not taking into account the documentation time of each project. My focus was primarily around fashion editorial and branding, which allowed me to use this time in final year to explore my possible practice within graphic design, developing my skills and becoming more visually literate in terms of layout and typography. The year group as a whole has been really inspiring, with some class members producing excellent work and thus driving a passion to collaborate - both on and off course. The opportunity for collaboration this year has helped me grow as a creative, finding my direction and what really makes me tick in terms of driving productivity. 

Working in a team allows the work load to be shared, especially with research, as bouncing feedback and ideas off someone who is as involved in a project as you is much more creatively fufilling. By working with another person you have to meet constant interim deadlines, attend meetings and always be on your phone/emails to discuss issues, which did become tiring after a while.

Collaboration is great because you can benefit from a wide range of skillsets who 

The fusion between the extended practice module and PPP had given me as a creative a wider skillset, with the collaborative briefs helping me grow in terms of organisation and professionality, project managing/driving a team and just getting stuff done. I now have both a graphics and a styling portfolio, which broadens employment opportunities especially around fashion magazines or small studio’s with focuses on art direction and fashion marketing. Through the Leeds RAG Fashion Show I have learnt the business process and the need for persistence and organisation which I have applied to my other briefs where possible. It has often been frustrating when my ideas have been shot down, especially with the Unentitled brief, or budget is not a possibility.

There were many briefs this year, mainly the Yearbook brief where I felt overpowered in the group, especially as Ben and Rob have such a close collaborative relationship. In order to be heard, I did feel like I was slightly annoying at times which is something I want to work on, but hope I did make a difference within the group.

There are still many areas to improve Managing work loads and stress - LRFS helped greatly with this as it thrust me into high pressured situations.

Giving myself extended time for unexpected things to occur - my time plan was initially compromised by LRFS taking up so much attention, and opportunities such as shooting with photographers and assisting at Wonderland Magazine meant my focus was not always on the module.

I have learnt that when I’m stressed, I try and multi-task but that is not the best thing to do as the quality suffers.

I have spent a lot of time in the library this year, looking through books, learning about the phillosophy of design and how to articulate creative works, although this still needs massive improvement.

I need to start staying no to people, and to work, as I have been working for free on bigger projects than some people whom I’ve spoken to have done, and they got paid. In order to become a freelancer I need to stop thinking of myself as a student, which may be evident when looking at extended practice and my lack of specific focus on graphic design. To me, graphics is communication and the networks associated with graphics 


I need to start staying no to people, and to work, as I have been working for free on bigger projects than some people whom I’ve spoken to have done, and they got paid. In order to become a freelancer I need to stop thinking of myself as a student, which may be evident when looking at extended practice and my lack of specific focus on graphic design. To me, graphics is communication and the networks associated with graphics 

OUGD603: Cafe Royal Books

Cafe Royal are a huge inspiration of mine in terms of layout and approach to book making. Taking a tactile zine approach, their images are produced on thick stock and are void of text. The classic Cafe Royal house style keeps a uniform consistency through the series. Despite at a glance looking quite rough and ready, the images are often shot on slow-processing methods and of high quality.











Sunday, 13 May 2018

OUGD603: Lookbook Editorial - Cover Ideas

Prior to brainstorming ideas, I was discussing the publication with a peer and flicking through some images I shot in New York and thought that as this is an increasingly personal brief anyway, the ambiguous images of store windows could be used as a cover; by showing two sides of the fashion world in a slightly juxtaposing manor.







Mint & Berry

The Berlin based label have opted for a sleek and fluid typeface, complemented by crisp photography to complement the garments. The garments themselves combine contemporary Scandinavian style with vintage touches, so the subtle retro feel to the typeface and colour palette makes the whole thing feel effortlessly, coherently stylish.





The use of simple halftones acts as a key to the images, helping the audience get a better understanding of the look book sequence. 



OUGD603: Lookbook Research

Ivy Voh has produced a portfolio titled 'OH NO! Another portfolio from a junior graphic designer'






OUGD603: Lookbook - Shoot 7

LRFS War

Inspo Videos

Joyner Lucas - I'm not a racist - https://www.youtube.com/watch?v=43gm3CJePn0
Sia - Elastic Heart - https://www.youtube.com/watch?v=KWZGAExj-es
American Psycho
Kendrick Lamar - DNA & Loyalty - https://www.youtube.com/watch?v=NLZRYQMLDW4
Southpaw - https://www.youtube.com/watch?v=ua2fWPG9nJE
Moonlight - https://www.youtube.com/watch?v=9NJj12tJzqc
Miguel - Going to hell - https://www.youtube.com/watch?v=zWUzCfuAyzU
After going through countless songs, we settled Nicholas Britell - The Middle of The World & the Spot, due to the dramatic narrative and emotive progressions depicted through the classical music and variable undertones.

Final Promo Image




OIGD603: Unentitled - Anthology Cover Development

OUGD603: Zlata Branding - Packaging Design 01

After another meeting with Zlata, she mentioned that she wanted matte black packaging- I am questioning wether she actually means matte black (as in softer to touch and could scratch with a finger nail) or just non-shiny. The packaging will ultimately be fairly simple, however I want to experiment with ideas as much as possible to explore any innovative design concepts to best protect her expensive pieces.

Initial sketches  




As she will be distributing online and avoiding stores, I need to focus on online packaging as apposed  shopping bags etc aren't needed. During the LRFS process a designer sent us her collection in a tall box with a rail at the top holding everything vertical which was effective in keeping her collection's embroidery in good condition, and avoiding creases. Despite the majority of Zlata's products being soft to touch, soft and can be folded, some silk pants may benefit from packaging of this nature - or flat for ease of storage and transportation. 

The idea of gender ambiguity within the MMG brand is topical when considering Zlata's clothing, which too is genderless. The incorporation of codes and concealing would be interesting due to her Russian heritage and the collection references.



The packaging will need to focus on numerous areas including:

- Large packaging > puffer style coats, larger dresses
- Regular packaging > Small-Medium size foldable items
- Slender packaging> Both for t-shirts and non-creasables, such as silk trousers and dresses,
- Dust bags > Accessories, potential footwear
- Care cards > Looking after the product, guarantee (potentially lifetime repairs), thank you for purchasing cards, 
- Tissue paper/fluff packaging (?)

As lots of the pieces may be custom, I need to know if its possible to get custom boxes to scale at a cheap price, and if so, to find a reliable and relatively cheap company for production. I found a website which makes custom boxes at dirt cheap prices, with no minimum order - perfect for R&D.






Sourcing Stocks

After hearing good things about a sustainable company, Paper Back, I decided to give them a try as a way to save costs, moving away from GF Smith stock. 



OUGD603: The September Issue Documentary



The September issue is a documentary based on the 2007 September Issue of American Vogue. Produced and directed by R. J. Cutler the documentary provides a behind the scenes look on what goes into creating a high volume, large scale fashion magazine, as well as the rigorous editing process when it comes to editorial spreads. We can see from the documentary that Grace Coddington, Fashion Editor and right hand woman to Anna Wintour takes a huge role in the construction of the magazine, overseeing all decision making when it comes to which designers, where the location will be and how the editorials conceptually will eventually look.

September is the fashion worlds January, with all major fashion weeks happening within this month. The September Issue has 5 months in the planning, making sure it features an accurate representation of the fall collections and social commentary of London, Paris, New York and Milan. Vogue features fashion stories/editorials, articles, interviews, ready to wear, couture collections and adverts (paid for by brands at silly money).

In Vogue, they go see all the collections and then edit it all down to what trends they want to feature- this will generally be a commonality between all runway shows, with a very Vogue agenda. These trends will eventually filter down onto social media, high street stores and eventually on the streets where influencers and taste makers introduce these trends to a whole new audience allowing them to grow out of the magazine. Vogue influences pop culture tremendously, in a way most of society is probably unaware of. Fur wasn't fashionable until Anna featured it heavily in early 1991, where it has since seen a spike in popularity and production.

Designers create special pieces for the September issue of Vogue, hoping that a cover star will feature in it. Alternatively, designers will use this opportunity to give Vogue exactly what they want (e.g.: fitting one of their editorial concepts) to be definitely featured within the magazine and reach such a large audience.

Vogue is always pushing culture and itself, which is why it is constantly growing and reining as ultimate taste-maker. The September issue of 2007 was then the biggest issue in history (500+ pages), but since then it has bettered itself yet again, now working upwards of 800 pages in some issues (at least 300 of which is fashion photography). Anna Wintour is currently the driving force behind this growth as she believes fashion is art which should be connected with everybody somehow- as well as a fantastic business woman.


How does Vogue put together a fashion editorial?

Figure out 'the look', then the story if heavily influenced by a particular trend/designer OR they figure out what story hasn't been played out anywhere else and invent the narrative first.

They ask, "what is the most important message to put in the issue?", highlighting that, despite clothes being the subject focus, communication is the overarching theme throughout Vogue and their fashion editorials. The clothes are meaningless if there is no narrative or conceptual merit to accompany it.

Its all a fashion story with Vogue and when shooting, they try and focus it around the girl to make the images more believable (and possibly less fantasy?). They ask "what is she doing? what is she thinking? where is she going?" and all of these answers communicate this fashion story- or the intended reading the producers want the public to pick up on.

They also stick to styling themes which run through editorial sections of the magazine, e.g.: textures, block colour, romanticism etc.

Go to see all major designers before and constantly throughout the process of shooting. Constantly shooting ad-hoc with fashion photographers and in house creatives.


Practically

They lay everything printed out and physically order the magazine page by page manually. There are huge benefits in this as everything can be seen at once and easily experimented with.

Grace Coddington (Fashion Editor) went to Paris just to find "something to shoot", so her time was spent meeting designers and finding the right pieces to tell the story.

Specific fashion photographers are hired to shoot certain spreads, due to their historic reputation with the fashion world and with Vogue, but also to best communicate the chosen aesthetic of each editorial section suggesting progression throughout the magazine.

MASSES of content which isn't even used (upwards of $50,000 worth of work edited down).

When it comes to the cover, at least 1 month before try the cover star in all possible clothing options prior to the shoot. Generally, the cover star is a celebrity or an upcoming 'super model' branding out into celebrity/influencer waters. From this planning, the desired look is created. How will her hair be? Do we require wigs? Makeup? What references can we draw from? Who is shooting her? What will that bring to the image? etc etc.


Vogues obsession with Celebrities

Anna Wintour was one of the first to introduce celebrities to the pages of vogue. She put celebrities on the cover as the culture of celebrities was becoming "overwhelming"- they are everywhere now, especially in the press. We automatically read an image differently if we recognise the person in it due to our previous experience of that person, e.g.: Kate Moss- Supermodel, commercial beauty. Marilyn Manson- rock star musician, angel of darkness. Both of these connotations impact the overall communication of the issue and editorial.

Vogue moved away from artistic stories to celebrities as ultimately that is what sells better, and a magazine is essentially a business for profit at the end of the day.

If model is replaced by celebrity, is model just a coat hanger? Yes.

Hire celebrities for covers all the time and place them in the designer of the times.. e.g.: Sienna Miller (big actress in 2007 stared on the September issue cover) wearing a fall 2007/8 dress, introducing the public to the new trend.


Fashion links to emancipation, the class system, overhauling race issues, feminism, revolt, anarchy.

Vogue takes you out of context and transports you to this far away world where your every day isn't a problem, never the less this could raise problems as it is undoubtably still sending connotations and messages to individuals via their printed pages. If an oppositional reading is taken of the images/texts then negative connotations may not place the viewer into a fantasy, but a hell of feeling like they're not good enough/not skinny enough/not rich enough to afford the garments we apparently 'must have'. (good and bad sides to vogue)

On Set

Depending on the photographer, continuous shooting isn't always required to save on time - Mario Testing stops and questions every image on a Mac.. do we want her like this? like that?

Writing Team

Asks what are women (mainly their chosen demographic of women) interested in? What are their concerns? They try to play on this and write articles to accompany the stories but bringing in more aspects of realism as these are the useful parts for the readers. Are women worried about wrinkly eyes? Lets do an article on wrinkly eyes then.

"Fashion is not about looking back, its all about looking forward" - Anna Wintour

Graphic Design Team

The graphics team is responsible for all typography, page layout and copywriting. They will create/edit pages throughout the whole process of shooting and contribute 'hot list' pages, articles and additional work to the lay out board.

Anna generally has adjustments at every hurdle, e.g.; "this type looks pretentious" or "why is this so large it looks like they're for blind people", so the designers need to tap into Vogues tone of voice and consider the tone of the fashion stories in order to create appropriate graphic design. Also, there is only one grid used throughout all Vogues to keep consistency.

 Once the magazine has been laid out and finalised, this is when the graphic designers compose it all into one big magazine.

Brands

YSL/ Gucci/ Burberry/ Ralph Laurent/ Tommy Hilfiger etc all feature graphic logos and prints as part of their brand image. When logo prints are used within an editorial context generally it is more about connotations to status and the signified than actual love for the garment- (the same goes in every day life). The question then turns into what society perceives that logo to mean, generally wealth and social status. In editorials these are only ever used for an reason and to complement the conceptual look/theme of the section, or often not used at all.

OUGD603: Fossil - The Final Design

After creating a resist print from the fossil itself to increase tactility (as mentioned in our crit), Luke also recreated the information card the fossil came with, as we both this felt this had interesting and contemporary design trends. The tag was also very visually similar to Prada's recent collection tags.




Final design, using Zeppelin Typeface




OUGD603: Lookbook - Shoot 6

LRFS Birth

- Less styling, more focus on real beauty
- Arty shots vs commercial
- Probably won't use as not much focus on styling

- Inspired by Nunude and Dove Real Women

Best Image - Main campaign image
 I prefer BTS due tot he documentary intimate nature, all personal and shot by crew