Mural

Creating Stories

I have tried using words to create a story behind the images I have been producing, so with these newest images I wanted to show a story but without the use of words.  By mirroring the model I want to make the viewer question what their relationship is and why they look so angry.

This idea was suggested in the last tutorial when the two images were brought together and suddenly a meaning was inferred.  I think by doing this it successfully creates more depth in the image.

Colour

I have started adding colour in my last images which I feel has given the images a different aspect.  The colour supplements the mood of the image aiding the viewer to decide the mood of the model.  The purple tones are very feminine whilst the blues have a much harder cold feel.

I've really enjoyed adding colour and the new possibilities it has opened up for me.  Using colour in a fluid way contrasts to the precise brushstrokes used in black to create the figures.

In a way it is a shame I have only just introduced colour now, however I feel that as my use of ink is now much more confident than it was at the beginning of the project so I may not have been able to use it in such a successful way.

Inner Confessions

I Like to be Alone

I Break Promises

I Will Never Be Satisfied 

Dissatisfaction

Last Tutorial

The last tutorial went better than I had expected.  I have been so close to my work for such a long time that I think I've lost all perspective, so I wasn't expecting very positive feedback, especially after seeing the quality of everyone else's work.

However, the feedback was really good.  It was suggested I work some colour into my images and also consider some kind of narrative or text to sit alongside my work.  This instantly brought to mind the work of Manuel Rebollo and the way he uses text woven into his images of women.

The way my figure is always looking away from the camera, often looking into the distance as if lost in thought would allow me to explore the idea of unsaid thoughts, secrets or confessions.  They way I avoid using faces leaves the image slightly ambiguous, and I wanted to continue this with the text, so rather than use words to explain the image, I want to continue the intrigue.

Illustrations from Photo Shoot

Skull

I love the contrast in this image between the black of the tshirt and white of the page.  I decided to do this image because of the use of negative space, but also because the face is hidden in most of my images it allows the viewer to make their own assumptions about the model, whereas in this image the tshirt influences the viewers opinions.

Fashion Shoot

To obtain images to draw from for my fashion illustrations, I decided to do my own fashion shoot.  During my research, I observed that most photos used full face shots, with the model making direct eye contact with the viewer.  I found that those that did not show the face or that had it partially hidden, were much more interesting, allowing the viewer to make their own connotations.

I worked with a photographer, Phoebe Cheong (http://www.phoebecheong.com) who is particularly interested in fashion photography and has many images similar to those that I wanted to draw.  Phoebe organised the shoot for me, advising me what I needed to do.  I had not realised how many people and how much time went into a shoot.  The studio and lights took a long time to set up in order to achieve our desired effect.

Before the shoot I bought a selection of outfits for the model, bearing in mind movement and small details, especially on the back, silhouettes and fabric.  I also had to plan what I needed for hair and makeup and the sort of poses I required.

Phoebe is a very talented photographer and helped me through each process, allowing me to have complete creative control, but using her experience and skills to advise me.  I learnt a lot from this experience, and also really enjoyed it.

Movement

I wanted to try and show movement with an image, and I think this has worked and given it more energy than the posed images.  I also think the stripes are really effective on the top as they show the contours of the body and the twist again gives the impression of movement. 

I may look into illustrating dancers, and will definitely produce more images where there are stripes on the clothing, as this is particularly effective in black and white.

Lissy Elle

I'm drawn to Lissy Elle's photography because of its magical quality.  The viewer has to take a second look to realise the strangeness of the image, the way a figure is upside down or gravity working from a  different direction.  The photos I have shown below also remind me of Sam Taylor Wood's photography where she hangs herself from a wire, then removes it digitally afterwards.

I think I like Lissy Elle's work because it also shows me the possibilities I have, as I am drawing rather than photographing I can make many different unrealistic changes.

Commercial Photography Colaboration

During a recent tutorial it was recommended that I try a collaboration with a student who concentrates on Fashion Photography.  I sent out an email and had a surprising number of responses. The work of the people that contacted me was really impressive, however some lended themselves more to illustrations than others.

After meeting with one photographer, she offered to set up a photography shoot if there were any poses that she had not covered in her photography, that I would like.  After discussing this idea with my tutors I felt that this would be a great opportunity to create my own images to draw from.

Renam Christofoletti

The Brazilian photographer Renam Christofoletti creates some beautiful photographs with strong contrasts and striking angles.  His images seem to flow effortlessly looking both strong and feminine.  I've drawn upon his work for ideas for my own poses for the fashion shoot I will be doing.

Robert Longo

Robert Longo's Men in the Cities (1980) created using charcoal and graphite on paper make great use of negative space and movement.  I like the use of three similar images next to each other as a set.

Herb Ritts

Herb Ritts began his photography career in the seventies and gained a reputation as a master of art and commercial photography.  Herb Ritts was drawn to clean lines and strong forms, often challenging conventional notions of gender and race.


His photos are extremely striking and I would like to use his unconventional positions and perspectives to influence my own work.