Amelia’s Magazine | London Fashion Week AW15 Fashion Illustrations

Vivienne Westwood Red Label LFW by Sara Netherway
Vivienne Westwood Red Label AW15 by Sara Netherway.

This year, instead of accompanying individual show reviews with fashion illustrations I decided to do something a bit different and open up the brief: inviting illustrators to send me their interpretation of any look from any of the London Fashion Week shows that took place, whether on or off schedule. Here are the results, all in one place. I hope you enjoy them!

Temperley-by-Emma-Farrarons
Temperley AW15 by Emma Farrarons.

SophiaWebster AW15 by_KatSquire_03
Sophia Webster AW15 by Kat Squire.

Minnan Hui AW15 Karolina Burdon
Minnan Hui AW15 by Karolina Burdon.

BURBERRY by EUGENIA_TSIMIKLIS_LO
Burberry AW15 by Eugenia Tsimiklis.

Sophia Webster AW15 by Kat Squire
Sophia Webster AW15 by Kat Squire.

Burberry AW15 by Eugenia Tsimiklis
Burberry AW15 by Eugenia Tsimiklis.

Antonio Berardi by Jordana Globerman
Antonio Berardi AW15 by Jordana Globerman.

Sophia Webster AW15 by Kat Squire
Sophia Webster AW15 by Kat Squire.

MATTHEW_WILLIAMSON AW15 by EUGENIA_TSIMIKLIS_LO
Matthew Williamson AW15 by Eugenia Tsimiklis.

Burberry Prorsum by Jordana Globerman
Burberry Prorsum AW15 by Jordana Globerman.

AW15 London Fashion Week Alice Temperley 480pix by Kasia Dudziuk
Alice Temperley AW15 by Kasia Dudziuk.

Orla Kiely AW15 by Lydia Coventry
Orla Kiely AW15 by Lydia Coventry.

Minnan Hui AW15 by Isabelle Mattern2
Minnan Hui AW15 by Isabelle Mattern2
Minnan Hui AW15 by Isabelle Mattern.

Vivienne Westwood Red Label by Sara Netherway
Vivienne Westwood Red Label AW15 by Sara Netherway.

Phoebe English by Laura Wilson
Phoebe English AW15 by Laura Wilson.

Daisy Steele Holly Fulton AW15
Holly Fulton AW15 by Daisy Steele.

Mary Katrantzou AW15 by  Iris van Gelder LFW
Mary Katrantzou AW15 by Iris van Gelder.

Categories ,A/W 2015, ,Antonio Berardi, ,AW15, ,Burberry, ,Daisy Steele, ,Emma Farrarons, ,Eugenia Tsimiklis, ,Fashion Illustrations, ,Iris van Gelder, ,Isabelle Mattern, ,Jordana Globerman, ,Karolina Burdon, ,Kasia Dudziuk, ,Kat Squire, ,Laura Wilson, ,London Fashion Week, ,Lydia Coventry, ,Mary Katrantzou, ,Matthew Williamson, ,Minnan Hui, ,Phoebe English, ,Sara Netherway, ,Sophia Webster, ,Temperley, ,Vivienne Westwood Red Label

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Amelia’s Magazine | Fashion in Motion at the V&A: Osman Yousefzada

Thumbnail Born Ruffians

God Bless Canada. Quietly producing some of the most influential and downright awesome musicians known to all mankind (I’m talking Neil Young, information pills Joni Mitchell, prostate Leonard Cohen & Arcade Fire here rather than Celine Dion, Avril Lavigne and Bryan Adams, by the way. Although, lets face it, after a few Camparis ‘Summer of 69’ is a chooon…) the Canucks are still chucking out quality music at an alarming rate these days.

Having cemented themselves firmly into the collective consciousness of the indie scenesters in 2008 with their successful debut album ‘Red, Yellow & Blue’, Toronto’s jangly pop darlings Born Ruffians are back with ‘Say It’, the notoriously tricky second album. And tricky it certainly is.
The first thing to clear up is that there is nothing as instantly toe-tappingly poptastic as ‘Hummingbird’ on this record. What we get instead is a sense of impending maturity and a feeling that our kids are all grown up.

Having happily settled into their own skins on this album, they seem less frantic and desperate to impress. This newfound maturity may mean a less instant record musically, but what we do get is a more laid back affair and what I believe will eventually been seen as more impressive an album than their debut. Still replete with the familiar jerky vocal twitchings of lead singer and guitarist Luke LaLonde, whose voice on this record goes from Alex Turner to David Byrne to Ben ‘Band of Horses’ Bridwell from one track to the next, ‘Say It’ displays a wider variety of influence and style which subsequently paints a much broader musical picture than it’s slightly one dimensional predecessor. This ability to develop and grow musically pulls them gently out of the indie schmindie pop kids category, placing them on the periphery of ‘respectable musical outfit’. Luckily they manage this shift in style without entirely losing the cheeky twinkle in the eye that saturated ‘Red, Yellow & Blue’ so appealingly.
Lead single ‘Sole Brother’ is the most radio friendly track on offer here, with a lazy slacker melody line and charmingly mellow weaving guitars. This is the one that inadvertently burrows into your ear and pops up on your internal jukebox a week later when you’re in the queue at Sainsburys. And then stays there for the next two weeks.

Best named track of the year, ‘Retard Canard’, is clearly indebted to Talking Heads early output, with mildly threatening heartbeat pounding exercise in eccentricity ‘The Ballad Of Moose Bruce’ seeing the band forget the commercial future of their music for a second and genuinely get stuck into some cheeky geeky indie eccentricity. And it works. For the most part. What is frustrating about this record is that every song throws up so many overt musical references that it becomes more an exercise in ‘what track/band does this remind you of?’ than in appreciating Born Ruffians on their own merit. Yet this album certainly gets under your skin.
In ‘Retard Canard’ we hear LaLonde yelp about wanting to set the world on fire. Sadly it is unlikely that this record is going to get even close to doing that, but it is still a fine example of a band developing their sound and style, yet not losing their ‘wink at the camera’ playfulness. They still have some way to go before they are up there with the likes of fellow Toronto exports Broken Social Scene in experimental musical terms, but they are getting there. Perhaps if they stopped wrapping up their dark and pain-laden lyrics in such a shiny pop sheen, we might start to see the real band and hear what they are truly capable of. ‘Say It’ makes me hungry to hear what they are going to deliver to us next, which can only be a good thing. This record is, for want of a better term, a ‘grower’ that, if you can be bothered to put the work in, pays dividends in the end. Give it a listen. Or five. It’s well worth it.

God Bless Canada. Quietly producing some of the most influential and downright awesome musicians known to all mankind (I’m talking Neil Young, Joni Mitchell, viagra 40mg Leonard Cohen & Arcade Fire here rather than Celine Dion, Avril Lavigne and Bryan Adams, by the way. Although, lets face it, after a few Camparis ‘Summer of 69’ is a chooon…) the Canucks are still chucking out quality music at an alarming rate these days.

Having cemented themselves firmly into the collective consciousness of the indie scenesters in 2008 with their successful debut album ‘Red, Yellow & Blue’, Toronto’s jangly pop darlings Born Ruffians are back with ‘Say It’, the notoriously tricky second album. And tricky it certainly is.
The first thing to clear up is that there is nothing as instantly toe-tappingly poptastic as ‘Hummingbird’ on this record. What we get instead is a sense of impending maturity and a feeling that our kids are all grown up.

Having happily settled into their own skins on this album, they seem less frantic and desperate to impress. This newfound maturity may mean a less instant record musically, but what we do get is a more laid back affair and what I believe will eventually been seen as more impressive an album than their debut. Still replete with the familiar jerky vocal twitchings of lead singer and guitarist Luke LaLonde, whose voice on this record goes from Alex Turner to David Byrne to Ben ‘Band of Horses’ Bridwell from one track to the next, ‘Say It’ displays a wider variety of influence and style which subsequently paints a much broader musical picture than it’s slightly one dimensional predecessor. This ability to develop and grow musically pulls them gently out of the indie schmindie pop kids category, placing them on the periphery of ‘respectable musical outfit’. Luckily they manage this shift in style without entirely losing the cheeky twinkle in the eye that saturated ‘Red, Yellow & Blue’ so appealingly.
Lead single ‘Sole Brother’ is the most radio friendly track on offer here, with a lazy slacker melody line and charmingly mellow weaving guitars. This is the one that inadvertently burrows into your ear and pops up on your internal jukebox a week later when you’re in the queue at Sainsburys. And then stays there for the next two weeks.

Best named track of the year, ‘Retard Canard’, is clearly indebted to Talking Heads early output, with mildly threatening heartbeat pounding exercise in eccentricity ‘The Ballad Of Moose Bruce’ seeing the band forget the commercial future of their music for a second and genuinely get stuck into some cheeky geeky indie eccentricity. And it works. For the most part. What is frustrating about this record is that every song throws up so many overt musical references that it becomes more an exercise in ‘what track/band does this remind you of?’ than in appreciating Born Ruffians on their own merit. Yet this album certainly gets under your skin.
In ‘Retard Canard’ we hear LaLonde yelp about wanting to set the world on fire. Sadly it is unlikely that this record is going to get even close to doing that, but it is still a fine example of a band developing their sound and style, yet not losing their ‘wink at the camera’ playfulness. They still have some way to go before they are up there with the likes of fellow Toronto exports Broken Social Scene in experimental musical terms, but they are getting there. Perhaps if they stopped wrapping up their dark and pain-laden lyrics in such a shiny pop sheen, we might start to see the real band and hear what they are truly capable of. ‘Say It’ makes me hungry to hear what they are going to deliver to us next, which can only be a good thing. This record is, for want of a better term, a ‘grower’ that, if you can be bothered to put the work in, pays dividends in the end. Give it a listen. Or five. It’s well worth it.

God Bless Canada. Quietly producing some of the most influential and downright awesome musicians known to all mankind (I’m talking Neil Young, treatment Joni Mitchell, healing Leonard Cohen & Arcade Fire here rather than Celine Dion, viagra dosage Avril Lavigne and Bryan Adams, by the way. Although, lets face it, after a few Camparis ‘Summer of 69’ is a chooon…) the Canucks are still chucking out quality music at an alarming rate these days.

Having cemented themselves firmly into the collective consciousness of the indie scenesters in 2008 with their successful debut album ‘Red, Yellow & Blue’, Toronto’s jangly pop darlings Born Ruffians are back with ‘Say It’, the notoriously tricky second album. And tricky it certainly is.
The first thing to clear up is that there is nothing as instantly toe-tappingly poptastic as ‘Hummingbird’ on this record. What we get instead is a sense of impending maturity and a feeling that our kids are all grown up.

Having happily settled into their own skins on this album, they seem less frantic and desperate to impress. This newfound maturity may mean a less instant record musically, but what we do get is a more laid back affair and what I believe will eventually been seen as more impressive an album than their debut. Still replete with the familiar jerky vocal twitchings of lead singer and guitarist Luke LaLonde, whose voice on this record goes from Alex Turner to David Byrne to Ben ‘Band of Horses’ Bridwell from one track to the next, ‘Say It’ displays a wider variety of influence and style which subsequently paints a much broader musical picture than it’s slightly one dimensional predecessor. This ability to develop and grow musically pulls them gently out of the indie schmindie pop kids category, placing them on the periphery of ‘respectable musical outfit’. Luckily they manage this shift in style without entirely losing the cheeky twinkle in the eye that saturated ‘Red, Yellow & Blue’ so appealingly.
Lead single ‘Sole Brother’ is the most radio friendly track on offer here, with a lazy slacker melody line and charmingly mellow weaving guitars. This is the one that inadvertently burrows into your ear and pops up on your internal jukebox a week later when you’re in the queue at Sainsburys. And then stays there for the next two weeks.

Best named track of the year, ‘Retard Canard’, is clearly indebted to Talking Heads early output, with mildly threatening heartbeat pounding exercise in eccentricity ‘The Ballad Of Moose Bruce’ seeing the band forget the commercial future of their music for a second and genuinely get stuck into some cheeky geeky indie eccentricity. And it works. For the most part. What is frustrating about this record is that every song throws up so many overt musical references that it becomes more an exercise in ‘what track/band does this remind you of?’ than in appreciating Born Ruffians on their own merit. Yet this album certainly gets under your skin.
In ‘Retard Canard’ we hear LaLonde yelp about wanting to set the world on fire. Sadly it is unlikely that this record is going to get even close to doing that, but it is still a fine example of a band developing their sound and style, yet not losing their ‘wink at the camera’ playfulness. They still have some way to go before they are up there with the likes of fellow Toronto exports Broken Social Scene in experimental musical terms, but they are getting there. Perhaps if they stopped wrapping up their dark and pain-laden lyrics in such a shiny pop sheen, we might start to see the real band and hear what they are truly capable of. ‘Say It’ makes me hungry to hear what they are going to deliver to us next, which can only be a good thing. This record is, for want of a better term, a ‘grower’ that, if you can be bothered to put the work in, pays dividends in the end. Give it a listen. Or five. It’s well worth it.

What came first photography or illustration?

I started taking photography seriously during my A levels, find although previously I had been taking photographs for a long time, information pills it was my Design Technology teacher who encouraged me to use my photographs as my final piece. As for drawing, it is quite a new thing for me, I was very unconfident with my drawing skills at school and quit Art as a subject due to an ongoing struggle against Art teachers who despaired at my dysfunctional representations of still lives and self-portraits. Whilst at Glasgow School of Art I started to keep small drawing books that I would show to no one, and then suddenly I realized I was drawing every day and forcing people to look at them!

How did the illustration drawing book project develop?

The book project developed over a long period of time in which I drew every day. It started as a way to try and improve my drawing “practice makes perfect etc, etc” and ended up being a culmination of everything I did that month. The shows I went to see, the books I read, the conversations I overheard until I then put the drawings, scribblings and photographs into some kind of order. The book as a format is such an amazing instrument for an artist to explain themselves, and without sounding too dictatorial, can direct the viewer through handpicked images in sequence with a kind of reveal. I love making the books, as everything however small or silly suddenly becomes something in its own right when put alone on a page or sat opposite another image.

What inspires you on a day to day basis?

It changes all the time. Mostly its social histories, how people lived and how they survived, what they did/ do with their time. I’m inspired by a lot of literature from science fiction to The Moomins especially ‘Moominvally in November’ which I re read recently and found it to contain such perfect descriptions of the funny character traits of humans. The Imperial War Museum is one of my favorite places and one I find especially inspiring as well as the British Museum with its collection of the ‘Lewis Chessmen’. Working on jobs where you meet so many different people every couple of weeks, becoming very close very quickly due to waking up at 5 in the morning looking awful! And spending the whole day together whilst having to be completely silent during takes is quite inspiring.

You’ve been involved in a range of projects from photography to short films as well as illustration. Could you perhaps talk a little about how you manage all your different projects?

Working freelance I think is the most wonderful thing, although tough and discouraging at times I think that it allows me to really enjoy all the projects I happen to be involved in, be them personal or as part of a bigger production. Creating a website for me was also a fantastic way to keep working privately and still have the chance to allow others to see the work I was making as an artist who is also looking for a job! Balancing working as part of the Art Department for productions and Photography I find is very natural. I enjoy creating sets and props, thinking about characters and colour and then find that Photography allows me to see the reality as an image. I feel that when I take stills on a film I have worked on as an art director or part of the art department I am more sensitive to the character within the set environment we have created, celebrating the set and including it within the photograph with I think is sometimes unfortunately overlooked when filming begins. Where illustration and drawing is concerned I draw with the hope of perhaps making a new book or exhibiting, this is generally done in the studio in my spare time.

How did these projects develop? And in a difficult market do you have any tips for graduates/art students currently thinking about job prospects outside of the relative safety of university?

After leaving art school I spent months on the internet looking for Photography jobs or jobs that would allow me to still be involved in making things and thinking about artists and talking about creative making to people. Which is I think what many recent graduates miss when coming out of university and not having anyone to talk to about arty farty things. After a while I started e-mailing Photographers, Art Directors, Production designers all people whose work I had seen and really enjoyed. Some got back to me some didn’t, but through the safety of email I managed to convince some people that I was hard working and a willing assistant. For someone coming out of University I would say once again that making and maintaining a website is such a fantastic tool to show people that you do work, you do make things and that you are interested.

What has your favourite project been so far?

Most recently I made a short film with my brother, a collaboration between several art schools in different countries. It was his project but I said I would like to help out, we made huge Bauhaus inspired costumes out of paper and fabric and filmed still tableaux’s of them destroying their property, it sounds crazy but it was so much fun! I also recently worked on a short film called ‘AilemA’, about a young girl coming to terms with Dyslexia who mixes words and drawings together on paper and all over her bedroom wall. I made a lot of the artwork for the film and used many of my drawings to cover a wall in the girl’s bedroom. It was not only the fact that I got to do a lot of my particular style of drawing for the film but I also had rather sentimental feelings for the story due to being a dyslexic myself.

What was your experience working on Short Rain? How did this opportunity develop?

Working on ‘Rain’ was a fantastic and yet surreal experience for me, the Production designer and I went to stay in the location for nearly two weeks, we dressed the sets all day and then withdrew to the attic to sleep at night. It definitely was one of the bigger short films I have worked on highlighted by the fact we had to have a rain machine on constantly throughout the whole shoot. I was fortunate to get this opportunity through the fantastic production designer; Miren Maranon, who I often work with. She is fantastic to work with and extremely talented I owe a lot to her.

What was your role on set?

Usually on set I work as a standby art director, art department assistant or stills photographer. I do enjoy working on set but my favourite part is definitely the pre production. Coming up with ideas and colour palates, finding and making props, its always quite sad breaking down the set at the end of the shoot.

You have shown in an extensive range of galleries – what is the nature of your work in these exhibitions?

In most of these exhibitions the work I have shown has been Photographic with perhaps some of the handmade books. It is only recently that I have shown a video piece and have never had a show based solely around the drawings. The subject matter of the exhibitions is dependant on what I am interested in at the time. For ages I was obsessed with this book ‘England in Particular’ and would go to National Trust properties photographing Dovecotes and village Yew trees. Although coming from a fine art background my photography has more of a documentary style to it. Whereas my illustrations are not realistic at all, but completely the opposite, they try to get the right size, shape and proportion but fail and maybe because they fail so spectacularly I like them.

Who are your favourite designers/photographers/illustrators?

I have many favorite artists, designers, and photographers. The ones I can think of at the moment are… the photographer Rinko Kawauchi, sculptor Richard Long, writer and illustrator Tove Jansson, writer and illustrator Rudyard Kipling, photographer Martin Parr, writer Douglas Adams, photographer Tierney Gearon, photographer Richard Billingham, photographer Homer Sykes, illustrator Pauline Baynes, artist David Shrigley and artist Louise Bourgeois. The list could go on and on….

Do you look at any blogs or use twitter to communicate as part of your creative practice?

No I do not really use twitter, but I do look at quite a lot of blogs to do with fashion, drawing, photography, magazines, news and opinion etc. I really respect people who create blogs and websites in their own spare time about the subjects they are enthusiastic about. It’s interesting to see how this generation has become so confident in themselves as a singular inventor or creator. Drawings and artwork don’t have to hide away in the corner of a studio or under a bed, someone somewhere will accidentally come across them and think “hey! That’s great!”

What role do you see photographers and illustrators playing in society?

A role with as much importance as anything else, illustration is such a natural way of communicating ideas to people and provides a kind of escapism for both the drawer and the viewer. Photography has provided us the perfect mirror and document of the time we live in and the ability to really see the past. Both mediums contribute to society by allowing us to take a step back and enjoy human invention and imagination.

What’s next for Augusta?

Not long ago I moved into a new studio in Elephant and Castle with my friend Carolyn here we come up with lots of ideas for projects and spend the evening drawing and talking, mostly talking! We are hoping to have a small exhibition in the studio later this year. During the summer I am starting work on my first feature film, which is so exciting, fingers crossed it will all go well!

Could you tell me about your short film plan for the summer?

Im not sure how much I can say! Its a kind of dark british comedy being shot in and around London about a burglar. The production company and crew is made up of lots of people I worked with before so I am very excited to see them all again. We have been discussing the films atmosphere and colour palate for some time now and I cant wait to get started in the next couple of weeks choosing materials and seeing locations.

GUS AKERMAN aka AUGUSTA AKERMAN is an incredibly talented polymath; since training as a photographer, drugs Akerman has turned her hand and eye to a variety of creative endeavors: Art Direction, ed Set Design, Still and Fine Art Photography, Illustration and costume design. Last week I had the pleasure of interviewing Augusta with regards to this skilled multi-tasking whilst picking her brains for any tips she has for budding creatives…

The work is rooted in a sense of humanity, questioning human behaviour and ideas of natural selection, photography and illustration lend themselves to this action of watching and recording the minutie of everyday life (See Amelia’s Magazine’s Review on the new Tate Show exploring the Voyeristic nature of the Camera). With this in mind lets delve into the interview…

What came first photography or illustration?

I started taking photography seriously during my A levels, although I had been taking photographs for a long time, it was my Design Technology teacher who encouraged me to use them as my final piece. As for drawing, it is quite a new thing for me, I was very unconfident with my drawing skills at school and quit Art as a subject due to an ongoing struggle against Art teachers who despaired at my dysfunctional representations of still lives and self-portraits. Whilst at Glasgow School of Art I started to keep small drawing books that I would show to no one, and then suddenly I realized I was drawing every day and forcing people to look at them!

How did the illustration drawing book project develop?

The book project developed over a long period of time in which I drew every day. It started as a way to try and improve my drawing “practice makes perfect etc, etc” and ended up being a culmination of everything I did that month. The shows I went to see, the books I read, the conversations I overheard until I then put the drawings, scribblings and photographs into some kind of order. The book as a format is such an amazing instrument for an artist to explain themselves, and without sounding too dictatorial, can direct the viewer through handpicked images in sequence with a kind of reveal. I love making the books, as everything however small or silly suddenly becomes something in its own right when put alone on a page or sat opposite another image.

What inspires you on a day to day basis?

It changes all the time. Mostly its social histories, how people lived and how they survived, what they did/ do with their time. I’m inspired by a lot of literature from science fiction to The Moomins especially ‘Moominvalley in November’ which I re-read recently and found it to contain such perfect descriptions of the funny character traits of humans. The Imperial War Museum is one of my favorite places and one I find especially inspiring as well as the British Museum with its collection of the ‘Lewis Chessmen’. Working on jobs where you meet so many different people every couple of weeks, becoming very close very quickly due to waking up at 5 in the morning looking awful! And spending the whole day together whilst having to be completely silent during takes is quite inspiring.

You’ve been involved in a range of projects from photography to short films as well as illustration. Could you perhaps talk a little about how you manage all your different projects?

Working freelance I think is the most wonderful thing, although tough and discouraging at times I think that it allows me to really enjoy all the projects I happen to be involved in, be them personal or as part of a bigger production. Creating a website for me was also a fantastic way to keep working privately and still have the chance to allow others to see the work I was making as an artist who is also looking for a job! Balancing working as part of the Art Department for productions and Photography I find is very natural. I enjoy creating sets and props, thinking about characters and colour and then find that Photography allows me to see the reality as an image. I feel that when I take stills on a film I have worked on as an art director or part of the art department I am more sensitive to the character within the set environment we have created, celebrating the set and including it within the photograph with I think is sometimes unfortunately overlooked when filming begins. Where illustration and drawing is concerned I draw with the hope of perhaps making a new book or exhibiting, this is generally done in the studio in my spare time.

How did these projects develop? And in a difficult market do you have any tips for graduates/art students currently thinking about job prospects outside of the relative safety of university?

After leaving art school I spent months on the internet looking for Photography jobs or jobs that would allow me to still be involved in making things and thinking about artists and talking about creative making to people. Which is I think what many recent graduates miss when coming out of university and not having anyone to talk to about arty farty things. After a while I started e-mailing Photographers, Art Directors, Production designers all people whose work I had seen and really enjoyed. Some got back to me some didn’t, but through the safety of email I managed to convince some people that I was hard working and a willing assistant. For someone coming out of University I would say once again that making and maintaining a website is such a fantastic tool to show people that you do work, you do make things and that you are interested.

What has your favourite project been so far?

Most recently I made a short film with my brother, a collaboration between several art schools in different countries. It was his project but I said I would like to help out, we made huge Bauhaus inspired costumes out of paper and fabric and filmed still tableaux’s of them destroying their property, it sounds crazy but it was so much fun! I also recently worked on a short film called ‘AilemA’, about a young girl coming to terms with Dyslexia who mixes words and drawings together on paper and all over her bedroom wall. I made a lot of the artwork for the film and used many of my drawings to cover a wall in the girl’s bedroom. It was not only the fact that I got to do a lot of my particular style of drawing for the film but I also had rather sentimental feelings for the story due to being a dyslexic myself.

What was your experience working on Short Rain? How did this opportunity develop?

Working on ‘Rain’ was a fantastic and yet surreal experience for me, the Production designer and I went to stay in the location for nearly two weeks, we dressed the sets all day and then withdrew to the attic to sleep at night. It definitely was one of the bigger short films I have worked on highlighted by the fact we had to have a rain machine on constantly throughout the whole shoot. I was fortunate to get this opportunity through the fantastic production designer; Miren Maranon, who I often work with. She is fantastic to work with and extremely talented I owe a lot to her.

What was your role on set?

Usually on set I work as a standby art director, art department assistant or stills photographer. I do enjoy working on set but my favourite part is definitely the pre production. Coming up with ideas and colour palates, finding and making props, its always quite sad breaking down the set at the end of the shoot.

You have shown in an extensive range of galleries – what is the nature of your work in these exhibitions?

In most of these exhibitions the work I have shown has been Photographic with perhaps some of the handmade books. It is only recently that I have shown a video piece and have never had a show based solely around the drawings. The subject matter of the exhibitions is dependant on what I am interested in at the time. For ages I was obsessed with this book ‘England in Particular’ and would go to National Trust properties photographing Dovecotes and village Yew trees. Although coming from a fine art background my photography has more of a documentary style to it. Whereas my illustrations are not realistic at all, but completely the opposite, they try to get the right size, shape and proportion but fail and maybe because they fail so spectacularly I like them.

Who are your favourite designers/photographers/illustrators?

I have many favorite artists, designers, and photographers. The ones I can think of at the moment are… the photographer Rinko Kawauchi, sculptor Richard Long, writer and illustrator Tove Jansson, writer and illustrator Rudyard Kipling, photographer Martin Parr, writer Douglas Adams, photographer Tierney Gearon, photographer Richard Billingham, photographer Homer Sykes, illustrator Pauline Baynes, artist David Shrigley and artist Louise Bourgeois. The list could go on and on….

Do you look at any blogs or use twitter to communicate as part of your creative practice?

No I do not really use twitter, but I do look at quite a lot of blogs to do with fashion, drawing, photography, magazines, news and opinion etc. I really respect people who create blogs and websites in their own spare time about the subjects they are enthusiastic about. It’s interesting to see how this generation has become so confident in themselves as a singular inventor or creator. Drawings and artwork don’t have to hide away in the corner of a studio or under a bed, someone somewhere will accidentally come across them and think “hey! That’s great!”

What role do you see photographers and illustrators playing in society?

A role with as much importance as anything else, illustration is such a natural way of communicating ideas to people and provides a kind of escapism for both the drawer and the viewer. Photography has provided us the perfect mirror and document of the time we live in and the ability to really see the past. Both mediums contribute to society by allowing us to take a step back and enjoy human invention and imagination.

What’s next for Augusta?

Not long ago I moved into a new studio in Elephant and Castle with my friend Carolyn here we come up with lots of ideas for projects and spend the evening drawing and talking, mostly talking! We are hoping to have a small exhibition in the studio later this year. During the summer I am starting work on my first feature film, which is so exciting, fingers crossed it will all go well!

Could you tell me about your short film plan for the summer?

Im not sure how much I can say! Its a kind of dark british comedy being shot in and around London about a burglar. The production company and crew is made up of lots of people I worked with before so I am very excited to see them all again. We have been discussing the films atmosphere and colour palate for some time now and I cant wait to get started in the next couple of weeks choosing materials and seeing locations.

GUS AKERMAN aka AUGUSTA AKERMAN is an incredibly talented polymath; since training as a photographer, cialis 40mg Akerman has turned her hand and eye to a variety of creative endeavors: Art Direction, Set Design, Still and Fine Art Photography, Illustration and costume design. Last week I had the pleasure of interviewing Augusta with regards to this skilled multi-tasking whilst picking her brains for any tips she has for budding creatives…

The work is rooted in a sense of humanity, questioning human behaviour and ideas of natural selection, photography and illustration lend themselves to this action of watching and recording the minutie of everyday life (See Amelia’s Magazine’s Review on the new Tate Show exploring the Voyeristic nature of the Camera). With this in mind lets delve into the interview…

What came first photography or illustration?

I started taking photography seriously during my A levels, although I had been taking photographs for a long time, it was my Design Technology teacher who encouraged me to use them as my final piece. As for drawing, it is quite a new thing for me, I was very unconfident with my drawing skills at school and quit Art as a subject due to an ongoing struggle against Art teachers who despaired at my dysfunctional representations of still lives and self-portraits. Whilst at Glasgow School of Art I started to keep small drawing books that I would show to no one, and then suddenly I realized I was drawing every day and forcing people to look at them!

How did the illustration drawing book project develop?

The book project developed over a long period of time in which I drew every day. It started as a way to try and improve my drawing “practice makes perfect etc, etc” and ended up being a culmination of everything I did that month. The shows I went to see, the books I read, the conversations I overheard until I then put the drawings, scribblings and photographs into some kind of order. The book as a format is such an amazing instrument for an artist to explain themselves, and without sounding too dictatorial, can direct the viewer through handpicked images in sequence with a kind of reveal. I love making the books, as everything however small or silly suddenly becomes something in its own right when put alone on a page or sat opposite another image.

What inspires you on a day to day basis?

It changes all the time. Mostly its social histories, how people lived and how they survived, what they did/ do with their time. I’m inspired by a lot of literature from science fiction to The Moomins especially ‘Moominvalley in November’ which I re-read recently and found it to contain such perfect descriptions of the funny character traits of humans. The Imperial War Museum is one of my favorite places and one I find especially inspiring as well as the British Museum with its collection of the ‘Lewis Chessmen’. Working on jobs where you meet so many different people every couple of weeks, becoming very close very quickly due to waking up at 5 in the morning looking awful! And spending the whole day together whilst having to be completely silent during takes is quite inspiring.

You’ve been involved in a range of projects from photography to short films as well as illustration. Could you perhaps talk a little about how you manage all your different projects?

Working freelance I think is the most wonderful thing, although tough and discouraging at times I think that it allows me to really enjoy all the projects I happen to be involved in, be them personal or as part of a bigger production. Creating a website for me was also a fantastic way to keep working privately and still have the chance to allow others to see the work I was making as an artist who is also looking for a job! Balancing working as part of the Art Department for productions and Photography I find is very natural. I enjoy creating sets and props, thinking about characters and colour and then find that Photography allows me to see the reality as an image. I feel that when I take stills on a film I have worked on as an art director or part of the art department I am more sensitive to the character within the set environment we have created, celebrating the set and including it within the photograph with I think is sometimes unfortunately overlooked when filming begins. Where illustration and drawing is concerned I draw with the hope of perhaps making a new book or exhibiting, this is generally done in the studio in my spare time.

How did these projects develop? And in a difficult market do you have any tips for graduates/art students currently thinking about job prospects outside of the relative safety of university?

After leaving art school I spent months on the internet looking for Photography jobs or jobs that would allow me to still be involved in making things and thinking about artists and talking about creative making to people. Which is I think what many recent graduates miss when coming out of university and not having anyone to talk to about arty farty things. After a while I started e-mailing Photographers, Art Directors, Production designers all people whose work I had seen and really enjoyed. Some got back to me some didn’t, but through the safety of email I managed to convince some people that I was hard working and a willing assistant. For someone coming out of University I would say once again that making and maintaining a website is such a fantastic tool to show people that you do work, you do make things and that you are interested.

What has your favourite project been so far?

Most recently I made a short film with my brother, a collaboration between several art schools in different countries. It was his project but I said I would like to help out, we made huge Bauhaus inspired costumes out of paper and fabric and filmed still tableaux’s of them destroying their property, it sounds crazy but it was so much fun! I also recently worked on a short film called ‘AilemA’, about a young girl coming to terms with Dyslexia who mixes words and drawings together on paper and all over her bedroom wall. I made a lot of the artwork for the film and used many of my drawings to cover a wall in the girl’s bedroom. It was not only the fact that I got to do a lot of my particular style of drawing for the film but I also had rather sentimental feelings for the story due to being a dyslexic myself.

What was your experience working on short film Rain? How did this opportunity develop?

Working on ‘Rain’ was a fantastic and yet surreal experience for me, the Production designer and I went to stay in the location for nearly two weeks, we dressed the sets all day and then withdrew to the attic to sleep at night. It definitely was one of the bigger short films I have worked on highlighted by the fact we had to have a rain machine on constantly throughout the whole shoot. I was fortunate to get this opportunity through the fantastic production designer; Miren Maranon, who I often work with. She is fantastic to work with and extremely talented I owe a lot to her.

What was your role on set?

Usually on set I work as a standby art director, art department assistant or stills photographer. I do enjoy working on set but my favourite part is definitely the pre production. Coming up with ideas and colour palates, finding and making props, its always quite sad breaking down the set at the end of the shoot.

You have shown in an extensive range of galleries – what is the nature of your work in these exhibitions?

In most of these exhibitions the work I have shown has been Photographic with perhaps some of the handmade books. It is only recently that I have shown a video piece and have never had a show based solely around the drawings. The subject matter of the exhibitions is dependant on what I am interested in at the time. For ages I was obsessed with this book ‘England in Particular’ and would go to National Trust properties photographing Dovecotes and village Yew trees. Although coming from a fine art background my photography has more of a documentary style to it. Whereas my illustrations are not realistic at all, but completely the opposite, they try to get the right size, shape and proportion but fail and maybe because they fail so spectacularly I like them.

Who are your favourite designers/photographers/illustrators?

I have many favorite artists, designers, and photographers. The ones I can think of at the moment are… the photographer Rinko Kawauchi, sculptor Richard Long, writer and illustrator Tove Jansson, writer and illustrator Rudyard Kipling, photographer Martin Parr, writer Douglas Adams, photographer Tierney Gearon, photographer Richard Billingham, photographer Homer Sykes, illustrator Pauline Baynes, artist David Shrigley and artist Louise Bourgeois. The list could go on and on….

Do you look at any blogs or use twitter to communicate as part of your creative practice?

No I do not really use twitter, but I do look at quite a lot of blogs to do with fashion, drawing, photography, magazines, news and opinion etc. I really respect people who create blogs and websites in their own spare time about the subjects they are enthusiastic about. It’s interesting to see how this generation has become so confident in themselves as a singular inventor or creator. Drawings and artwork don’t have to hide away in the corner of a studio or under a bed, someone somewhere will accidentally come across them and think “hey! That’s great!”

What role do you see photographers and illustrators playing in society?

A role with as much importance as anything else, illustration is such a natural way of communicating ideas to people and provides a kind of escapism for both the drawer and the viewer. Photography has provided us the perfect mirror and document of the time we live in and the ability to really see the past. Both mediums contribute to society by allowing us to take a step back and enjoy human invention and imagination.

What’s next for Augusta?

Not long ago I moved into a new studio in Elephant and Castle with my friend Carolyn here we come up with lots of ideas for projects and spend the evening drawing and talking, mostly talking! We are hoping to have a small exhibition in the studio later this year. During the summer I am starting work on my first feature film, which is so exciting, fingers crossed it will all go well!

Could you tell me about your short film plan for the summer?

Im not sure how much I can say! Its a kind of dark british comedy being shot in and around London about a burglar. The production company and crew is made up of lots of people I worked with before so I am very excited to see them all again. We have been discussing the films atmosphere and colour palate for some time now and I cant wait to get started in the next couple of weeks choosing materials and seeing locations.

GUS AKERMAN aka AUGUSTA AKERMAN is an incredibly talented polymath, ask since training as a photographer, Akerman has turned her hand and eye to a variety of creative endeavors: Art Direction, Set Design, Still and Fine Art Photography, Illustration and costume design. Last week I had the pleasure of interviewing Augusta with regards to this skilled multi-tasking whilst picking her brains for any tips she has for budding creatives…

The work is rooted in a sense of humanity, questioning human behaviour and ideas of natural selection, photography and illustration lend themselves to this action of watching and recording the minutie of everyday life (See Amelia’s Magazine’s Review on the new Tate Show exploring the Voyeristic nature of the Camera). With this in mind lets delve into the interview…

What came first photography or illustration?

I started taking photography seriously during my A levels, although I had been taking photographs for a long time, it was my Design Technology teacher who encouraged me to use them as my final piece. As for drawing, it is quite a new thing for me, I was very unconfident with my drawing skills at school and quit Art as a subject due to an ongoing struggle against Art teachers who despaired at my dysfunctional representations of still lives and self-portraits. Whilst at Glasgow School of Art I started to keep small drawing books that I would show to no one, and then suddenly I realized I was drawing every day and forcing people to look at them!

How did the illustration drawing book project develop?

The book project developed over a long period of time in which I drew every day. It started as a way to try and improve my drawing “practice makes perfect etc, etc” and ended up being a culmination of everything I did that month. The shows I went to see, the books I read, the conversations I overheard until I then put the drawings, scribblings and photographs into some kind of order. The book as a format is such an amazing instrument for an artist to explain themselves, and without sounding too dictatorial, can direct the viewer through handpicked images in sequence with a kind of reveal. I love making the books, as everything however small or silly suddenly becomes something in its own right when put alone on a page or sat opposite another image.

What inspires you on a day to day basis?

It changes all the time. Mostly its social histories, how people lived and how they survived, what they did/ do with their time. I’m inspired by a lot of literature from science fiction to The Moomins especially ‘Moominvalley in November’ which I re-read recently and found it to contain such perfect descriptions of the funny character traits of humans. The Imperial War Museum is one of my favorite places and one I find especially inspiring as well as the British Museum with its collection of the ‘Lewis Chessmen’. Working on jobs where you meet so many different people every couple of weeks, becoming very close very quickly due to waking up at 5 in the morning looking awful! And spending the whole day together whilst having to be completely silent during takes is quite inspiring.

You’ve been involved in a range of projects from photography to short films as well as illustration. Could you perhaps talk a little about how you manage all your different projects?

Working freelance I think is the most wonderful thing, although tough and discouraging at times I think that it allows me to really enjoy all the projects I happen to be involved in, be them personal or as part of a bigger production. Creating a website for me was also a fantastic way to keep working privately and still have the chance to allow others to see the work I was making as an artist who is also looking for a job! Balancing working as part of the Art Department for productions and Photography I find is very natural. I enjoy creating sets and props, thinking about characters and colour and then find that Photography allows me to see the reality as an image. I feel that when I take stills on a film I have worked on as an art director or part of the art department I am more sensitive to the character within the set environment we have created, celebrating the set and including it within the photograph with I think is sometimes unfortunately overlooked when filming begins. Where illustration and drawing is concerned I draw with the hope of perhaps making a new book or exhibiting, this is generally done in the studio in my spare time.

How did these projects develop? And in a difficult market do you have any tips for graduates/art students currently thinking about job prospects outside of the relative safety of university?

After leaving art school I spent months on the internet looking for Photography jobs or jobs that would allow me to still be involved in making things and thinking about artists and talking about creative making to people. Which is I think what many recent graduates miss when coming out of university and not having anyone to talk to about arty farty things. After a while I started e-mailing Photographers, Art Directors, Production designers all people whose work I had seen and really enjoyed. Some got back to me some didn’t, but through the safety of email I managed to convince some people that I was hard working and a willing assistant. For someone coming out of University I would say once again that making and maintaining a website is such a fantastic tool to show people that you do work, you do make things and that you are interested.

What has your favourite project been so far?

Most recently I made a short film with my brother, a collaboration between several art schools in different countries. It was his project but I said I would like to help out, we made huge Bauhaus inspired costumes out of paper and fabric and filmed still tableaux’s of them destroying their property, it sounds crazy but it was so much fun! I also recently worked on a short film called ‘AilemA’, about a young girl coming to terms with Dyslexia who mixes words and drawings together on paper and all over her bedroom wall. I made a lot of the artwork for the film and used many of my drawings to cover a wall in the girl’s bedroom. It was not only the fact that I got to do a lot of my particular style of drawing for the film but I also had rather sentimental feelings for the story due to being a dyslexic myself.

What was your experience working on short film Rain? How did this opportunity develop?

Working on ‘Rain’ was a fantastic and yet surreal experience for me, the Production designer and I went to stay in the location for nearly two weeks, we dressed the sets all day and then withdrew to the attic to sleep at night. It definitely was one of the bigger short films I have worked on highlighted by the fact we had to have a rain machine on constantly throughout the whole shoot. I was fortunate to get this opportunity through the fantastic production designer; Miren Maranon, who I often work with. She is fantastic to work with and extremely talented I owe a lot to her.

What was your role on set?

Usually on set I work as a standby art director, art department assistant or stills photographer. I do enjoy working on set but my favourite part is definitely the pre production. Coming up with ideas and colour palates, finding and making props, its always quite sad breaking down the set at the end of the shoot.

You have shown in an extensive range of galleries – what is the nature of your work in these exhibitions?

In most of these exhibitions the work I have shown has been Photographic with perhaps some of the handmade books. It is only recently that I have shown a video piece and have never had a show based solely around the drawings. The subject matter of the exhibitions is dependant on what I am interested in at the time. For ages I was obsessed with this book ‘England in Particular’ and would go to National Trust properties photographing Dovecotes and village Yew trees. Although coming from a fine art background my photography has more of a documentary style to it. Whereas my illustrations are not realistic at all, but completely the opposite, they try to get the right size, shape and proportion but fail and maybe because they fail so spectacularly I like them.

Who are your favourite designers/photographers/illustrators?

I have many favorite artists, designers, and photographers. The ones I can think of at the moment are… the photographer Rinko Kawauchi, sculptor Richard Long, writer and illustrator Tove Jansson, writer and illustrator Rudyard Kipling, photographer Martin Parr, writer Douglas Adams, photographer Tierney Gearon, photographer Richard Billingham, photographer Homer Sykes, illustrator Pauline Baynes, artist David Shrigley and artist Louise Bourgeois. The list could go on and on….

Do you look at any blogs or use twitter to communicate as part of your creative practice?

No I do not really use twitter, but I do look at quite a lot of blogs to do with fashion, drawing, photography, magazines, news and opinion etc. I really respect people who create blogs and websites in their own spare time about the subjects they are enthusiastic about. It’s interesting to see how this generation has become so confident in themselves as a singular inventor or creator. Drawings and artwork don’t have to hide away in the corner of a studio or under a bed, someone somewhere will accidentally come across them and think “hey! That’s great!”

What role do you see photographers and illustrators playing in society?

A role with as much importance as anything else, illustration is such a natural way of communicating ideas to people and provides a kind of escapism for both the drawer and the viewer. Photography has provided us the perfect mirror and document of the time we live in and the ability to really see the past. Both mediums contribute to society by allowing us to take a step back and enjoy human invention and imagination.

What’s next for Augusta?

Not long ago I moved into a new studio in Elephant and Castle with my friend Carolyn here we come up with lots of ideas for projects and spend the evening drawing and talking, mostly talking! We are hoping to have a small exhibition in the studio later this year. During the summer I am starting work on my first feature film, which is so exciting, fingers crossed it will all go well!

Could you tell me about your short film plan for the summer?

Im not sure how much I can say! Its a kind of dark british comedy being shot in and around London about a burglar. The production company and crew is made up of lots of people I worked with before so I am very excited to see them all again. We have been discussing the films atmosphere and colour palate for some time now and I cant wait to get started in the next couple of weeks choosing materials and seeing locations.

GUS AKERMAN aka AUGUSTA AKERMAN is an incredibly talented polymath, discount since training as a photographer, this Akerman has turned her hand and eye to a variety of creative endeavors: Art Direction, Set Design, Still and Fine Art Photography, Illustration and costume design. Last week I had the pleasure of interviewing Augusta with regards to this skilled multi-tasking whilst picking her brains for any tips she has for budding creatives…

The work is rooted in a sense of humanity, questioning human behaviour and ideas of natural selection, photography and illustration lend themselves to this action of watching and recording the minutie of everyday life (See Amelia’s Magazine’s Review on the new Tate Show exploring the Voyeristic nature of the Camera). With this in mind lets delve into the interview…

What came first photography or illustration?

I started taking photography seriously during my A levels, although I had been taking photographs for a long time, it was my Design Technology teacher who encouraged me to use them as my final piece. As for drawing, it is quite a new thing for me, I was very unconfident with my drawing skills at school and quit Art as a subject due to an ongoing struggle against Art teachers who despaired at my dysfunctional representations of still lives and self-portraits. Whilst at Glasgow School of Art I started to keep small drawing books that I would show to no one, and then suddenly I realized I was drawing every day and forcing people to look at them!

How did the illustration drawing book project develop?

The book project developed over a long period of time in which I drew every day. It started as a way to try and improve my drawing “practice makes perfect etc, etc” and ended up being a culmination of everything I did that month. The shows I went to see, the books I read, the conversations I overheard until I then put the drawings, scribblings and photographs into some kind of order. The book as a format is such an amazing instrument for an artist to explain themselves, and without sounding too dictatorial, can direct the viewer through handpicked images in sequence with a kind of reveal. I love making the books, as everything however small or silly suddenly becomes something in its own right when put alone on a page or sat opposite another image.

What inspires you on a day to day basis?

It changes all the time. Mostly its social histories, how people lived and how they survived, what they did/ do with their time. I’m inspired by a lot of literature from science fiction to The Moomins especially ‘Moominvalley in November’ which I re-read recently and found it to contain such perfect descriptions of the funny character traits of humans. The Imperial War Museum is one of my favorite places and one I find especially inspiring as well as the British Museum with its collection of the ‘Lewis Chessmen’. Working on jobs where you meet so many different people every couple of weeks, becoming very close very quickly due to waking up at 5 in the morning looking awful! And spending the whole day together whilst having to be completely silent during takes is quite inspiring.

You’ve been involved in a range of projects from photography to short films as well as illustration. Could you perhaps talk a little about how you manage all your different projects?

Working freelance I think is the most wonderful thing, although tough and discouraging at times I think that it allows me to really enjoy all the projects I happen to be involved in, be them personal or as part of a bigger production. Creating a website for me was also a fantastic way to keep working privately and still have the chance to allow others to see the work I was making as an artist who is also looking for a job! Balancing working as part of the Art Department for productions and Photography I find is very natural. I enjoy creating sets and props, thinking about characters and colour and then find that Photography allows me to see the reality as an image. I feel that when I take stills on a film I have worked on as an art director or part of the art department I am more sensitive to the character within the set environment we have created, celebrating the set and including it within the photograph with I think is sometimes unfortunately overlooked when filming begins. Where illustration and drawing is concerned I draw with the hope of perhaps making a new book or exhibiting, this is generally done in the studio in my spare time.

How did these projects develop? And in a difficult market do you have any tips for graduates/art students currently thinking about job prospects outside of the relative safety of university?

After leaving art school I spent months on the internet looking for Photography jobs or jobs that would allow me to still be involved in making things and thinking about artists and talking about creative making to people. Which is I think what many recent graduates miss when coming out of university and not having anyone to talk to about arty farty things. After a while I started e-mailing Photographers, Art Directors, Production designers all people whose work I had seen and really enjoyed. Some got back to me some didn’t, but through the safety of email I managed to convince some people that I was hard working and a willing assistant. For someone coming out of University I would say once again that making and maintaining a website is such a fantastic tool to show people that you do work, you do make things and that you are interested.

What has your favourite project been so far?

Most recently I made a short film with my brother, a collaboration between several art schools in different countries. It was his project but I said I would like to help out, we made huge Bauhaus inspired costumes out of paper and fabric and filmed still tableaux’s of them destroying their property, it sounds crazy but it was so much fun! I also recently worked on a short film called ‘AilemA’, about a young girl coming to terms with Dyslexia who mixes words and drawings together on paper and all over her bedroom wall. I made a lot of the artwork for the film and used many of my drawings to cover a wall in the girl’s bedroom. It was not only the fact that I got to do a lot of my particular style of drawing for the film but I also had rather sentimental feelings for the story due to being a dyslexic myself.

What was your experience working on short film Rain? How did this opportunity develop?

Working on ‘Rain’ was a fantastic and yet surreal experience for me, the Production designer and I went to stay in the location for nearly two weeks, we dressed the sets all day and then withdrew to the attic to sleep at night. It definitely was one of the bigger short films I have worked on highlighted by the fact we had to have a rain machine on constantly throughout the whole shoot. I was fortunate to get this opportunity through the fantastic production designer; Miren Maranon, who I often work with. She is fantastic to work with and extremely talented I owe a lot to her.

What was your role on set?

Usually on set I work as a standby art director, art department assistant or stills photographer. I do enjoy working on set but my favourite part is definitely the pre production. Coming up with ideas and colour palates, finding and making props, its always quite sad breaking down the set at the end of the shoot.

You have shown in an extensive range of galleries – what is the nature of your work in these exhibitions?

In most of these exhibitions the work I have shown has been Photographic with perhaps some of the handmade books. It is only recently that I have shown a video piece and have never had a show based solely around the drawings. The subject matter of the exhibitions is dependant on what I am interested in at the time. For ages I was obsessed with this book ‘England in Particular’ and would go to National Trust properties photographing Dovecotes and village Yew trees. Although coming from a fine art background my photography has more of a documentary style to it. Whereas my illustrations are not realistic at all, but completely the opposite, they try to get the right size, shape and proportion but fail and maybe because they fail so spectacularly I like them.

Who are your favourite designers/photographers/illustrators?

I have many favorite artists, designers, and photographers. The ones I can think of at the moment are… the photographer Rinko Kawauchi, sculptor Richard Long, writer and illustrator Tove Jansson, writer and illustrator Rudyard Kipling, photographer Martin Parr, writer Douglas Adams, photographer Tierney Gearon, photographer Richard Billingham, photographer Homer Sykes, illustrator Pauline Baynes, artist David Shrigley and artist Louise Bourgeois. The list could go on and on….

Do you look at any blogs or use twitter to communicate as part of your creative practice?

No I do not really use twitter, but I do look at quite a lot of blogs to do with fashion, drawing, photography, magazines, news and opinion etc. I really respect people who create blogs and websites in their own spare time about the subjects they are enthusiastic about. It’s interesting to see how this generation has become so confident in themselves as a singular inventor or creator. Drawings and artwork don’t have to hide away in the corner of a studio or under a bed, someone somewhere will accidentally come across them and think “hey! That’s great!”

What role do you see photographers and illustrators playing in society?

A role with as much importance as anything else, illustration is such a natural way of communicating ideas to people and provides a kind of escapism for both the drawer and the viewer. Photography has provided us the perfect mirror and document of the time we live in and the ability to really see the past. Both mediums contribute to society by allowing us to take a step back and enjoy human invention and imagination.

What’s next for Augusta?

Not long ago I moved into a new studio in Elephant and Castle with my friend Carolyn here we come up with lots of ideas for projects and spend the evening drawing and talking, mostly talking! We are hoping to have a small exhibition in the studio later this year. During the summer I am starting work on my first feature film, which is so exciting, fingers crossed it will all go well!

Could you tell me about your short film plan for the summer?

Im not sure how much I can say! Its a kind of dark british comedy being shot in and around London about a burglar. The production company and crew is made up of lots of people I worked with before so I am very excited to see them all again. We have been discussing the films atmosphere and colour palate for some time now and I cant wait to get started in the next couple of weeks choosing materials and seeing locations.

GUS AKERMAN aka AUGUSTA AKERMAN is an incredibly talented polymath, find since training as a photographer, Akerman has turned her hand and eye to a variety of creative endeavors: Art Direction, Set Design, Still and Fine Art Photography, Illustration and costume design. Last week I had the pleasure of interviewing Augusta with regards to this skilled multi-tasking whilst picking her brains for any tips she has for budding creatives…

The work is rooted in a sense of humanity, questioning human behaviour and ideas of natural selection, photography and illustration lend themselves to this action of watching and recording the minutie of everyday life (See Amelia’s Magazine’s Review on the new Tate Show exploring the Voyeristic nature of the Camera). With this in mind lets delve into the interview…

What came first photography or illustration?

I started taking photography seriously during my A levels, although I had been taking photographs for a long time, it was my Design Technology teacher who encouraged me to use them as my final piece. As for drawing, it is quite a new thing for me, I was very unconfident with my drawing skills at school and quit Art as a subject due to an ongoing struggle against Art teachers who despaired at my dysfunctional representations of still lives and self-portraits. Whilst at Glasgow School of Art I started to keep small drawing books that I would show to no one, and then suddenly I realized I was drawing every day and forcing people to look at them!

How did the illustration drawing book project develop?

The book project developed over a long period of time in which I drew every day. It started as a way to try and improve my drawing “practice makes perfect etc, etc” and ended up being a culmination of everything I did that month. The shows I went to see, the books I read, the conversations I overheard until I then put the drawings, scribblings and photographs into some kind of order. The book as a format is such an amazing instrument for an artist to explain themselves, and without sounding too dictatorial, can direct the viewer through handpicked images in sequence with a kind of reveal. I love making the books, as everything however small or silly suddenly becomes something in its own right when put alone on a page or sat opposite another image.

What inspires you on a day to day basis?

It changes all the time. Mostly its social histories, how people lived and how they survived, what they did/ do with their time. I’m inspired by a lot of literature from science fiction to The Moomins especially ‘Moominvalley in November’ which I re-read recently and found it to contain such perfect descriptions of the funny character traits of humans. The Imperial War Museum is one of my favorite places and one I find especially inspiring as well as the British Museum with its collection of the ‘Lewis Chessmen’. Working on jobs where you meet so many different people every couple of weeks, becoming very close very quickly due to waking up at 5 in the morning looking awful! And spending the whole day together whilst having to be completely silent during takes is quite inspiring.

You’ve been involved in a range of projects from photography to short films as well as illustration. Could you perhaps talk a little about how you manage all your different projects?

Working freelance I think is the most wonderful thing, although tough and discouraging at times I think that it allows me to really enjoy all the projects I happen to be involved in, be them personal or as part of a bigger production. Creating a website for me was also a fantastic way to keep working privately and still have the chance to allow others to see the work I was making as an artist who is also looking for a job! Balancing working as part of the Art Department for productions and Photography I find is very natural. I enjoy creating sets and props, thinking about characters and colour and then find that Photography allows me to see the reality as an image. I feel that when I take stills on a film I have worked on as an art director or part of the art department I am more sensitive to the character within the set environment we have created, celebrating the set and including it within the photograph with I think is sometimes unfortunately overlooked when filming begins. Where illustration and drawing is concerned I draw with the hope of perhaps making a new book or exhibiting, this is generally done in the studio in my spare time.

How did these projects develop? And in a difficult market do you have any tips for graduates/art students currently thinking about job prospects outside of the relative safety of university?

After leaving art school I spent months on the internet looking for Photography jobs or jobs that would allow me to still be involved in making things and thinking about artists and talking about creative making to people. Which is I think what many recent graduates miss when coming out of university and not having anyone to talk to about arty farty things. After a while I started e-mailing Photographers, Art Directors, Production designers all people whose work I had seen and really enjoyed. Some got back to me some didn’t, but through the safety of email I managed to convince some people that I was hard working and a willing assistant. For someone coming out of University I would say once again that making and maintaining a website is such a fantastic tool to show people that you do work, you do make things and that you are interested.

What has your favourite project been so far?

Most recently I made a short film with my brother, a collaboration between several art schools in different countries. It was his project but I said I would like to help out, we made huge Bauhaus inspired costumes out of paper and fabric and filmed still tableaux’s of them destroying their property, it sounds crazy but it was so much fun! I also recently worked on a short film called ‘AilemA’, about a young girl coming to terms with Dyslexia who mixes words and drawings together on paper and all over her bedroom wall. I made a lot of the artwork for the film and used many of my drawings to cover a wall in the girl’s bedroom. It was not only the fact that I got to do a lot of my particular style of drawing for the film but I also had rather sentimental feelings for the story due to being a dyslexic myself.

What was your experience working on short film Rain? How did this opportunity develop?

Working on ‘Rain’ was a fantastic and yet surreal experience for me, the Production designer and I went to stay in the location for nearly two weeks, we dressed the sets all day and then withdrew to the attic to sleep at night. It definitely was one of the bigger short films I have worked on highlighted by the fact we had to have a rain machine on constantly throughout the whole shoot. I was fortunate to get this opportunity through the fantastic production designer; Miren Maranon, who I often work with. She is fantastic to work with and extremely talented I owe a lot to her.

What was your role on set?

Usually on set I work as a standby art director, art department assistant or stills photographer. I do enjoy working on set but my favourite part is definitely the pre production. Coming up with ideas and colour palates, finding and making props, its always quite sad breaking down the set at the end of the shoot.

You have shown in an extensive range of galleries – what is the nature of your work in these exhibitions?

In most of these exhibitions the work I have shown has been Photographic with perhaps some of the handmade books. It is only recently that I have shown a video piece and have never had a show based solely around the drawings. The subject matter of the exhibitions is dependant on what I am interested in at the time. For ages I was obsessed with this book ‘England in Particular’ and would go to National Trust properties photographing Dovecotes and village Yew trees. Although coming from a fine art background my photography has more of a documentary style to it. Whereas my illustrations are not realistic at all, but completely the opposite, they try to get the right size, shape and proportion but fail and maybe because they fail so spectacularly I like them.

Who are your favourite designers/photographers/illustrators?

I have many favorite artists, designers, and photographers. The ones I can think of at the moment are… the photographer Rinko Kawauchi, sculptor Richard Long, writer and illustrator Tove Jansson, writer and illustrator Rudyard Kipling, photographer Martin Parr, writer Douglas Adams, photographer Tierney Gearon, photographer Richard Billingham, photographer Homer Sykes, illustrator Pauline Baynes, artist David Shrigley and artist Louise Bourgeois. The list could go on and on….

Do you look at any blogs or use twitter to communicate as part of your creative practice?

No I do not really use twitter, but I do look at quite a lot of blogs to do with fashion, drawing, photography, magazines, news and opinion etc. I really respect people who create blogs and websites in their own spare time about the subjects they are enthusiastic about. It’s interesting to see how this generation has become so confident in themselves as a singular inventor or creator. Drawings and artwork don’t have to hide away in the corner of a studio or under a bed, someone somewhere will accidentally come across them and think “hey! That’s great!”

What role do you see photographers and illustrators playing in society?

A role with as much importance as anything else, illustration is such a natural way of communicating ideas to people and provides a kind of escapism for both the drawer and the viewer. Photography has provided us the perfect mirror and document of the time we live in and the ability to really see the past. Both mediums contribute to society by allowing us to take a step back and enjoy human invention and imagination.

What’s next for Augusta?

Not long ago I moved into a new studio in Elephant and Castle with my friend Carolyn here we come up with lots of ideas for projects and spend the evening drawing and talking, mostly talking! We are hoping to have a small exhibition in the studio later this year. During the summer I am starting work on my first feature film, which is so exciting, fingers crossed it will all go well!

Could you tell me about your short film plan for the summer?

Im not sure how much I can say! Its a kind of dark british comedy being shot in and around London about a burglar. The production company and crew is made up of lots of people I worked with before so I am very excited to see them all again. We have been discussing the films atmosphere and colour palate for some time now and I cant wait to get started in the next couple of weeks choosing materials and seeing locations.

GUS AKERMAN aka AUGUSTA AKERMAN is an incredibly talented polymath, website since training as a photographer, Akerman has turned her hand and eye to a variety of creative endeavors: Art Direction, Set Design, Still and Fine Art Photography, Illustration and costume design. Last week I had the pleasure of interviewing Augusta with regards to this skilled multi-tasking whilst picking her brains for any tips she has for budding creatives…

The work is rooted in a sense of humanity, questioning human behaviour and ideas of natural selection, photography and illustration lend themselves to this action of watching and recording the minutie of everyday life (See Amelia’s Magazine’s Review on the new Tate Show exploring the Voyeristic nature of the Camera). With this in mind lets delve into the interview…

What came first photography or illustration?

I started taking photography seriously during my A levels, although I had been taking photographs for a long time, it was my Design Technology teacher who encouraged me to use them as my final piece. As for drawing, it is quite a new thing for me, I was very unconfident with my drawing skills at school and quit Art as a subject due to an ongoing struggle against Art teachers who despaired at my dysfunctional representations of still lives and self-portraits. Whilst at Glasgow School of Art I started to keep small drawing books that I would show to no one, and then suddenly I realized I was drawing every day and forcing people to look at them!

How did the illustration drawing book project develop?

The book project developed over a long period of time in which I drew every day. It started as a way to try and improve my drawing “practice makes perfect etc, etc” and ended up being a culmination of everything I did that month. The shows I went to see, the books I read, the conversations I overheard until I then put the drawings, scribblings and photographs into some kind of order. The book as a format is such an amazing instrument for an artist to explain themselves, and without sounding too dictatorial, can direct the viewer through handpicked images in sequence with a kind of reveal. I love making the books, as everything however small or silly suddenly becomes something in its own right when put alone on a page or sat opposite another image.

What inspires you on a day to day basis?

It changes all the time. Mostly its social histories, how people lived and how they survived, what they did/ do with their time. I’m inspired by a lot of literature from science fiction to The Moomins especially ‘Moominvalley in November’ which I re-read recently and found it to contain such perfect descriptions of the funny character traits of humans. The Imperial War Museum is one of my favorite places and one I find especially inspiring as well as the British Museum with its collection of the ‘Lewis Chessmen’. Working on jobs where you meet so many different people every couple of weeks, becoming very close very quickly due to waking up at 5 in the morning looking awful! And spending the whole day together whilst having to be completely silent during takes is quite inspiring.

You’ve been involved in a range of projects from photography to short films as well as illustration. Could you perhaps talk a little about how you manage all your different projects?

Working freelance I think is the most wonderful thing, although tough and discouraging at times I think that it allows me to really enjoy all the projects I happen to be involved in, be them personal or as part of a bigger production. Creating a website for me was also a fantastic way to keep working privately and still have the chance to allow others to see the work I was making as an artist who is also looking for a job! Balancing working as part of the Art Department for productions and Photography I find is very natural. I enjoy creating sets and props, thinking about characters and colour and then find that Photography allows me to see the reality as an image. I feel that when I take stills on a film I have worked on as an art director or part of the art department I am more sensitive to the character within the set environment we have created, celebrating the set and including it within the photograph with I think is sometimes unfortunately overlooked when filming begins. Where illustration and drawing is concerned I draw with the hope of perhaps making a new book or exhibiting, this is generally done in the studio in my spare time.

How did these projects develop? And in a difficult market do you have any tips for graduates/art students currently thinking about job prospects outside of the relative safety of university?

After leaving art school I spent months on the internet looking for Photography jobs or jobs that would allow me to still be involved in making things and thinking about artists and talking about creative making to people. Which is I think what many recent graduates miss when coming out of university and not having anyone to talk to about arty farty things. After a while I started e-mailing Photographers, Art Directors, Production designers all people whose work I had seen and really enjoyed. Some got back to me some didn’t, but through the safety of email I managed to convince some people that I was hard working and a willing assistant. For someone coming out of University I would say once again that making and maintaining a website is such a fantastic tool to show people that you do work, you do make things and that you are interested.

What has your favourite project been so far?

Most recently I made a short film with my brother, a collaboration between several art schools in different countries. It was his project but I said I would like to help out, we made huge Bauhaus inspired costumes out of paper and fabric and filmed still tableaux’s of them destroying their property, it sounds crazy but it was so much fun! I also recently worked on a short film called ‘AilemA’, about a young girl coming to terms with Dyslexia who mixes words and drawings together on paper and all over her bedroom wall. I made a lot of the artwork for the film and used many of my drawings to cover a wall in the girl’s bedroom. It was not only the fact that I got to do a lot of my particular style of drawing for the film but I also had rather sentimental feelings for the story due to being a dyslexic myself.

What was your experience working on short film Rain? How did this opportunity develop?

Working on ‘Rain’ was a fantastic and yet surreal experience for me, the Production designer and I went to stay in the location for nearly two weeks, we dressed the sets all day and then withdrew to the attic to sleep at night. It definitely was one of the bigger short films I have worked on highlighted by the fact we had to have a rain machine on constantly throughout the whole shoot. I was fortunate to get this opportunity through the fantastic production designer; Miren Maranon, who I often work with. She is fantastic to work with and extremely talented I owe a lot to her.

What was your role on set?

Usually on set I work as a standby art director, art department assistant or stills photographer. I do enjoy working on set but my favourite part is definitely the pre production. Coming up with ideas and colour palates, finding and making props, its always quite sad breaking down the set at the end of the shoot.

You have shown in an extensive range of galleries – what is the nature of your work in these exhibitions?

In most of these exhibitions the work I have shown has been Photographic with perhaps some of the handmade books. It is only recently that I have shown a video piece and have never had a show based solely around the drawings. The subject matter of the exhibitions is dependant on what I am interested in at the time. For ages I was obsessed with this book ‘England in Particular’ and would go to National Trust properties photographing Dovecotes and village Yew trees. Although coming from a fine art background my photography has more of a documentary style to it. Whereas my illustrations are not realistic at all, but completely the opposite, they try to get the right size, shape and proportion but fail and maybe because they fail so spectacularly I like them.

Who are your favourite designers/photographers/illustrators?

I have many favorite artists, designers, and photographers. The ones I can think of at the moment are… the photographer Rinko Kawauchi, sculptor Richard Long, writer and illustrator Tove Jansson, writer and illustrator Rudyard Kipling, photographer Martin Parr, writer Douglas Adams, photographer Tierney Gearon, photographer Richard Billingham, photographer Homer Sykes, illustrator Pauline Baynes, artist David Shrigley and artist Louise Bourgeois. The list could go on and on….

Do you look at any blogs or use twitter to communicate as part of your creative practice?

No I do not really use twitter, but I do look at quite a lot of blogs to do with fashion, drawing, photography, magazines, news and opinion etc. I really respect people who create blogs and websites in their own spare time about the subjects they are enthusiastic about. It’s interesting to see how this generation has become so confident in themselves as a singular inventor or creator. Drawings and artwork don’t have to hide away in the corner of a studio or under a bed, someone somewhere will accidentally come across them and think “hey! That’s great!”

What role do you see photographers and illustrators playing in society?

A role with as much importance as anything else, illustration is such a natural way of communicating ideas to people and provides a kind of escapism for both the drawer and the viewer. Photography has provided us the perfect mirror and document of the time we live in and the ability to really see the past. Both mediums contribute to society by allowing us to take a step back and enjoy human invention and imagination.

What’s next for Augusta?

Not long ago I moved into a new studio in Elephant and Castle with my friend Carolyn here we come up with lots of ideas for projects and spend the evening drawing and talking, mostly talking! We are hoping to have a small exhibition in the studio later this year. During the summer I am starting work on my first feature film, which is so exciting, fingers crossed it will all go well!

Could you tell me about your short film plan for the summer?

Im not sure how much I can say! Its a kind of dark british comedy being shot in and around London about a burglar. The production company and crew is made up of lots of people I worked with before so I am very excited to see them all again. We have been discussing the films atmosphere and colour palate for some time now and I cant wait to get started in the next couple of weeks choosing materials and seeing locations.

Illustration by Eugenia Tsimiklis

In my honest opinion, drug the V&A is the single most wonderful museum in the world. Where else can you pass by Medieval sculpture, viagra 60mg breeze by centuries-old Japanese textiles and pass under Renaissance frescos to marvel at Dame Edna’s full-english-breakfast frock? At the V&A, I tell ya!

I was here today for the latest Fashion in Motion catwalk show – events that bring the runway to the public and make watching fashion, in this sense, accessible.

This time it was the turn of Osman Yousefzada, Afghan-born and British-based fashion designer.


Illustration by Leah Wilson

Taking my seat on the front row, it’s always incredible to look around and see what type of people attend these events. Today’s crowd was made up mostly of the usual breed of fashionista-slash-scenester, but it’s always great to see how diverse this crowd is – particularly the two little old dears who were sitting by my side. They were in the mid-to-late seventies I’d say, but they looked absolutely gorgeous and told me ‘they love a catwalk show!’

The show began with a burst of loud music and a very muscular man appeared wearing one of Osman’s body-concious floor-length creations (womenswear, I hasten to add). As he moved down the catwalk robotically, whoops and cheers were heard, and his lean frame began to dance in that fascinating interpretative style that I defy anybody to fully explain or understand. He was joined by a girl who came hurtling and spinning down the catwalk, her aesthetic a-line pleated Osman creation getting maximum exposure from her delicate moves.

When the ‘fashion’ part of the show kicked in, it was easy to see why Osman is celebrated internationally for his forward-thinking fashion. In this semi-retrospective of his work, the key themes were glamour, sophistication and body-concious ensembles. These four strutted their stuff first.

Quickly the show gathered pace and we were treated to a whistle-stop tour of Osman’s previous and present collections. Body-con was again high on the list of things to see, along with a range of delicate and very, very feminine short dresses.


Illustration by Eugenia Tsimiklis

Osman’s style is hard to pin down. It’s glamorous, at times futuristic but never, ever boring. At first glance many of the pieces are wonderfully simple, but always with a twist: like an oversized tafetta corsage in post-box red, or a metallic gold bodice.

Osman relies on a natural colour palette; futuristic grays are a strong theme along with fashionable nudes, and it is the craftsmanship and engineering of these Japanese-inspired pieces that work the hardest.

…Whilst some pieces, like this beautiful bell-like creation, seemed to float over the model as she effortlessly walked the catwalk.

Hot pink blouses and gold lamé macs brought a welcomed splash of colour, however.


Illustration by Leah Wilson

Oh, and the shoes were pretty amazing, too – and looked surprisingly comfortable (although I’m not sure I’ll be wearing any anytime soon)

We’ll look forward, then, to Osman’s future collections now we’ve revelled into this little delve into his past. If you want to find out more about Fashion in Motion and future events, check out the listings section or the V&A website.

You can also see the previous Fashion in Motion event, Erdem, here.

Categories ,Body-con, ,Dame Edna Everage, ,dance, ,Eugenia Tsimiklis, ,Fashion in Motion, ,Full English, ,Glamour, ,Leah Wilson, ,london, ,Osman, ,Osman Yousefzada, ,va, ,Victoria & Albert Museum

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Amelia’s Magazine | Bora Aksu: London Fashion Week A/W 2014 Catwalk Review

Bora Aksu AW 2014 a by xplusyequals

Bora Aksu A/W 2014 a by xplusyequals.

It’s been several seasons since I last attended a Bora Aksu catwalk show, and I’ve missed seeing his wonderful creations up close. This season he was inspired by his mother’s school days, taking girlish elements and giving them a unique Bora twist in an unusual colour palette of monochrome combined with sugar pink, navy blue, canary yellow and blood red. Construction of the garments for Dear Birsen was, as always, thoroughly modern – similar toned high tech textured fabrics patched together to create an intriguing silhouette that included outsize puff sleeved shoulders, mesh dirndls, a boxy cape and sweeping A-line skirts.

Bora Aksu AW 2014-opening catwalk

Bora Aksu AW 2014-monochrome outfit- photography by Amelia Gregory

Bora Aksu AW 2014-black and white two piece -photography by Amelia Gregory

Bora Aksu AW 2014-white cape dress-photography by Amelia Gregory

Bora Aksu A/W 2014 by Mitika Suri

Bora Aksu A/W 2014 by Mitika Suri.

Bora Aksu AW 2014 b by xplusyequals

Bora Aksu AW 2014 b by xplusyequals.

The collection was given a nostalgic folksy feel, with knotted plaits tied together by gauzy ribbon and fair isle ankle socks peeking through the cut outs of spike heeled sandals. Rounded Peter Pan collars sweetened the more dramatic pieces, which included a multi-layered floor length cape.

Bora Aksu A/W 2014 by Mitika Suri

Bora Aksu A/W 2014 by Mitika Suri.

Bora Aksu AW 2014-pink waffle skirt-photography by Amelia Gregory

Bora Aksu AW 2014-yellow dress-photography by Amelia Gregory

Bora Aksu AW 2014-red dress-photography by Amelia Gregory

Bora Asku A/W 2014 by Briony Jose

Bora Asku A/W 2014 by Briony Jose.

Bora Aksu combines contrasting ideas with increasing dexterity, and after 10 years on the catwalk he deserves better recognition within the pantheon of great London based designers. What a fabulous start to my LFW this season.

All photography by Amelia Gregory.

Categories ,A/W 2014, ,Bora Aksu, ,Briony Jose, ,catwalk, ,Dear Birsen, ,Mitika Chohan, ,Mitika Suri, ,review, ,Somerset House, ,xplusyequals

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Amelia’s Magazine | Valentines Open Brief: Submissions Part 1

Chantelle Bell
I was thrilled to receive over 40 submissions for my Valentines Open Brief, nine of which were chosen by East End Prints to appear in their True Romance exhibition, open now (full listing here). Here is my first round up of the other submissions with text by the artists and links to their websites – I’m sure you will agree there are some stunning images here.

Chantelle Bell (above)
I heard this quote in a Twilight film and found it really sweet, no matter how cheesy it is. I think that the time we spend with our loved ones isn’t what is important, however what happens during this time is. We don’t have limitless lifespans, unlike some film characters, so we can only offer what we have, with the promise that if we had more, we would spend it with the one we love. I created this paper cut illustration with bright colours to keep it cheerful and drew the text with a fine liner before gluing it all down. The love hearts continue off the page to signify the infinite aspect of love. However childish or naive it may seem to believe love can last, there are the hopeful few who do, and these are the few who keep the hope alive.

owlpussycat print
Eugenia Tsimiklis
The Owl and the Pussycat: The poem is about an unlikely union between owl and pussy cat. It speaks of their complete devotion to one another and willingness to sail away together towards adventures unknown. The poem suggests the couple sacrifice their most worldly possessions to escape together and concludes as they dance by the light of the moon hand in hand. It’s a nursery rhyme with romantic sentiment, and I wanted the illustration to reflect this with a stark yet organic feel. I wanted the illustration to have a fluid quality with its linear linework and limited palette.

PRETTY WOMAN-Faye West
Faye West
I love the concept of alternative film posters. And a lot of my illustrative influences come from cult film poster artists such as Robert McGinnis. I wanted to depict romance via the classic film Pretty Woman (1990) and it’s more modern use of romantic language. We like our romances with a certain edge these days, and this is a film that is close to the hearts of many generations, not only because it stands the test of time, but also because it’s such a colourful representation of it’s era. I think this iconic film deserves referencing in fashion and art for future generations to come. And for me, is the ultimate romantic film.

for walls
For Walls
A print inspired by the Valentine’s Day tradition of giving flowers. I like to capture little domestic scenes in my prints, and these flowers are somehow in keeping with this. The print is designed to be celebratory and noisy, so I’ve included some process colours (and clashing colours) to really make it pop! The print is designed in Illustrator, and is made by creating lots of individual shapes to build up the image, then overlaying the outlines so the structure is visible. I like to show off the digital elements and background of a composition in a lot of my work. I’ve also played with transparency to add a bit of extra depth.

hello_DODO_Love_Beards_Design
Hello Dodo
Here at hello DODO we love creating simple graphic tricks that make people smile. We are a husband and wife team and are self-taught screen printers based in Brighton, designing and printing from our home studio. Over the years we’ve been hugely influenced by design legends such as Alan Fletcher & Milton Glaser and their witty eye for creating fun, timeless designs. This particular design was actually born when we sent Milton Glaser himself a little Christmas greeting with our own adaptation of his timeless ‘I heart NY’ design including this little bearded guy. Milton’s response is still one of our most treasured things and continues to encourage and inspire us:  
Thank you for your greeting, it is by far the best and cleverest adaptation of my time-worn logo and a Merry Christmas to you as well. Milton

together...JennyKadis
lovebirds...JennyKadis
Jenny Kadis
After graduating from Leeds Metropolitan University with a First Class (Hons), Jenny has developed a quirky and unique style based upon her pencil drawings which she combines with bold acrylic paint markings and collage.

jenny robins - VALENTINES ART
Jenny Robins
This is a re-working of a collage piece I did a few years ago, that’s where the text is from. I have hand rendered the found text in this version, but evoke the cut and paste aesthetic by keeping it in irregular boxes. The imagery is inspired by classic romance movies like those ones with Fred Astaire, Katherine Hepburn, suits, dresses, dancing dancing dancing and oh so meaningful glances. I painted everything first and just suggested some tones before adding the outline at the end, I like to do this with watercolour and ink as it keeps a sense of fluidity and motion in the work and it doesn’t get too exact or cartoony. The serendipity which led to the original wording was perfect, and I like how it adds a second reading to the picture as the cynical aside both laughs at the romance of the image and to some extent grounds it, as these onomatopoeic breathy words remind us of the physicality of love – heart racing, palms sweating etc. and certainly of dancing too. 

Karina Jarv
Karina Jarv
I’ve always loved this film – How to Steal a Million. Since I was a child I always thought this is the best way to start a relationship. Hah, of course I do not think so now. But I think Audrey Hepburn and Peter O’Toole were such a great and beautiful couple. The ARE such a great and beautiful couple even after almost 50 years later. And when I feel myself sad in some cold winter evening I adore to watch this film seating in my chair with a cup of my Earl Grey.

Lorna_Scobie_Park
Lorna Scobie
My illustration, entitled ‘I smelt you from across the park’ is about True Love. Although the scene centres around two dogs who have found romance in a busy park, it also shows love in other forms. A man reads his favourite newspaper, a group of friends share a picnic, and a dog chases deer despite the wishes of his owner (Fentooooonnn!). Rather than planning an image before I start, I paint as ideas come into my head, which I hope makes the illustration feel more alive. My inspiration for this drawing came from a walk in St James’s Park in London last weekend, where I noticed that everyone seemed to be having a really, really good time. I don’t think love is limited to the feeling felt between two people, and this is what I hope to show in this illustration.

Netina
Netina
When I started thinking of a Valentine’s day illustration I immediately decided to base it around a heart image. But I didn’t want this heart to be a conventional one. Then for no particular reason I remembered how I had noticed in the past that two question marks facing each other look very much like a heart.That was it! That would be my idea for the Valentine’s illustration. Everyone’s familiar with the feeling of wondering whether a person you love/like/fancy has some feelings for you too. Well a question mark can easily be a symbol of that feeling. The characters in the illustration aren’t human for two reasons. Mainly because animal characters are sometimes more fun and secondly as a small tribute to one my most favourite romantic movie scenes: the candlelight dinner from Disney’s Lady and the Tramp. When it comes to the technical details now the illustration has been hand drawn with water colours and scanned. Hope you like the result.

Rosie Bowery
Rosie Bowery
This piece was inspired by a love of Eastern European Folk Art- it’s colours, patterns and forms. My process is rooted in the tactile, my love of drawing and painting.

SarahUnderwood_ameliasmag
Sarah Underwood
More recently my work is based upon a love of nature, and constant observational drawing, an environment in which I can explore narrative and new techniques in my artistic practices. I use both traditional drawing skills and a digital environment to create my final pieces. This piece was inspired by my early teenage obsession with the 1960′s, and the music, illustrations and clothes from that era. Particularly, The Beatles and The Yellow Submarine, my favourite film at the time

Suzanne Walker
Susie La Fou
My work is a combination of pencil drawing / water colour / and digital art.  
The inspiration behind my work, is how two hearts find each other and fall in love in a seemingly random way. With so many hearts around us – i think its amazing that somehow we manage to seek out the one thats right for us. 

Victoria Wright Valentines art
Victoria Wright
This quote is based on a line from Baz Lurhman’s film version of ‘The Great Gatsby’, spoken by Daisy to Jay Gatsby “I wish I’d done everything on earth with you”.  It was apparently a line taken from a letter that Zelda Fitzgerald had written to her husband, F. Scott Fitzgerald (the books’ author). It’s so romantic but has an element of sadness in the context of the story so I altered it to the slightly more hopeful phrase “Lets do everything on earth together”.  I wanted to create a simple image to encapsulate the idea of the scope and expanse of love, and the idea of hope and adventure.
My work always begins in a sketchbook. In this case the typography is hand painted and digitally coloured and the imagery began as a cut paper collage, which I have manipulated and layered digitally with different textures. I love reading classic fiction, and I am inspired by bold simple shapes and patterns. happy colours and the fun and excitement in the world all around me.

More to come in Part 2 tomorrow!

Categories ,Chantelle Bell, ,East End Prints, ,Eugenia Tsimiklis, ,Faye West, ,For Walls, ,Hello Dodo, ,Jenny Kadis, ,Jenny Robins, ,Karina Jarv, ,Lorna Scobie, ,Netina, ,Pretty Woman, ,Rosie Bowery, ,Sarah Underwood, ,Susie La Fou, ,The Owl and the Pussycat, ,True Romance, ,twilight, ,Valentine’s Day, ,Valentines, ,Valentines Open Brief, ,Victoria Wright

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Amelia’s Magazine | Valentines Open Brief: Submissions Part 2

REALITY_BITES_Eugenia Tsmilkis
Valentine’s Day is nearly upon us! Here are the rest of the submissions for my Valentines Open Brief, see more here, and see the ones which were chosen by East End Prints to appear in their True Romance exhibition here. I hope you’ll all be feeling the lurve this weekend.

Eugenia Tsimiklis (above)
Reality Bites: This film has significance for me as a romantic comedy because it encapsulated awkward post-university faltering relationships. It’s a movie about connecting with people, being emotionally vulnerable and a search for identity, and opportunity during economic recession. Reality Bites is the archetypal slacker romantic comedy and is concerned with not being a “sell out” and choosing integrity over financial gains and choosing the slacker penniless hot musician Ethan Hawke over the earnest suited TV executive, Ben Stiller. Stylistically, I love Reality Bites, because Ethan Hawke and Winona Ryder are the ultimate nineties pin ups, wearing grunge thrift store clothes and hanging out in dirty bars, driving beat up old cars, working in jobs they hate and smoking cigarettes and feeling misunderstood.
I drew this based on the movie poster but I wanted it to have more of a comic feel. I drew it in pencil and added Indian ink, and a splash of red. I like the starkness of a limited palette and black and white poster art.

Valentines Art_Alison Day
Alison Day Designs
The inspiration for my Valentines Art illustration came to me one evening by chance. I have worked for many years as editor and designer of an expatriate magazine in the Netherlands. In 2013, I decided that it was time to take the plunge and put all my energies into my business: Alison Day Designs. I am inspired by imagery and the world around me, and I enjoy working in my garden studio on personal design and illustration projects.

Florence Zealey
Florence Zealey
My piece is inspired by the french film, Le fabuleux destin d’Amélie Poulain – probably one of my all time favourites. The line “Even artichokes have hearts” immediately sprung to my mind when first approaching the design, appearing within the scene where Amelie confronts the bully of a greengrocer. Although not seemingly the most romantic line, or scene, within the film, I thought that it perfectly captured the charm and romance of the story without being too obvious. The film is simplistic, lighthearted and doesn’t take itself too seriously, so I have tried to keep that theme within my own work. I originally drew out the artichoke and the title by hand and then decided to progress with the design digitally. I have always admired simplistic and graphic posters, such as the work by Saul Bass, and have recently tried to bring this approach back to my own work. There is something incredibly difficult about keeping a design so simple and making it still look good whilst still having a clear meaning. 

helendodsworth
Helen Dodsworth
I’ve never been keen on romantic/soppy declarations and find it all a bit naff to be honest. My friend was eating some love hearts and I noticed that one of them had MINE stamped on it. This struck me as a little too possessive and controlling for my liking, and left me with an image of a little cartoon love heart being told off for being a little too keen. I sketched out a few rough drawings until I had it looking the way I wanted it, then scanned my favourite sketch into Photoshop, blew it up to the right size (as I naturally sketch quite small), then polished it up and added colour in Photoshop, using a photo of love hearts I found online for colour reference.

HollyFarmer-Valentinesart
Holly Farmer
This illustration is a mixed media piece that was originally inspired by the Russian artist duo – The Popovy Sisters and their beautiful artist dolls. I wanted to portray a sense of fragility and melancholy through the form of a slim, breakable doll. Although she has a dolls body, I feel I captured something hauntingly human about her expression and mood. I painted the girl using watercolours in an impasto method by mixing white acrylic paint to the colours. I also hand painted each individual moth in watercolour. Originally during my planning of this work I painted two girls facing each other in a romantic or sisterly way. I wanted to express the way love is universal and mostly, indiscriminate. I erased the second girl and instead drew two red flowers in a vase to simply suggest a romantic aura. I feel I captured the theme of love in a subtle way.

joanna long
Joanna Long
Love is all around, sometimes you just have to look a little bit harder to see it!

laura barrett
Laura Barrett
The design I’ve created is inspired by traditional folk art and takes inspiration from nature. I’ve always been drawn to folk and fairy tales, which is something that runs through most of my work and the illustrations I choose to create. This design is based on floral folk art, in particular ‘Scherenschnitte’, the German art of creating intricate cut paper designs. These need to be designed in a way that every piece is connected so that the whole design is held together- I like this idea of everything being connected, which seems appropriate for such a romantic theme. 

myfanwy tristram
Myfanwy Tristram
Although I work a lot with inks, and prize them for their vibrancy, this piece is super-saturated in colour even by my standards. When I thought of love, I wanted to show it bursting out all over, with flowers springing up spontaneously, trumpets playing triumphant fanfares, and everything – seed heads, rainbows, hearts and flowers – just exploding with the sheer exhilaration of it all.
In retrospect, I suspect the colour theme is influenced by a childhood exposure to Sesame Street and Seventies cartoons, where pink, purple and orange could, and did, co-exist in harmony. For those who didn’t grow up in that decade, I apologise, and hope that your retinas recover soon.
I sketched this piece out in pencil initially, which allowed for some crazy sweeping lines, then coloured it, via a lightbox, onto a new page. It’s barely touched up in Photoshop, hence the uneveness in some of the colouration – hopefully all adding to the general feeling of being swept up in the moment of irrepressible, undeniable, exuberant love.

Rich banks queen of hearts
Rich Banks
Queen of Hearts was created using Staedtdler Fine Liners and Uni Posca marker pens. It is the next in a series of illustrations I am producing on playing cards. 

Sarah Stendel
Sarah Stendel
My inspiration was one of the most romantic movies of all that I know: An Affair to Remember starring lovely Deborah Kerr and Cary Grant as Terry and Nickie, who gently fall in love with each other during their trip on a ferry. Although both are actually involved with someone else, after their journeythey decide  to leave each others’ partners and meet in 6 months time on top of the Empire State Building in New York. After watching the movie again and making some sketches and notes during the film, I started painting a remake of the movieposter. I went for an old poster format, like some french theatres (particularly Folies-Bergère) or events used to have around the 20s/30s. And some british illustrative posters of the 50 inspired me as well.

ScottWMason-VALENTINES-ART
Scott Mason
Illustrated film posters from past romance movies inspired this illustration, with those a single image had to depict a story and intrigue viewers to come and watch the film, so I wanted to include just enough to entice the viewers imagination and curiosity and let their mind run wild with creating a story, situation and relationship for these two. This image started off with a couple of quick layout sketches to try and plan out the colours, but that all went out the window when I started the actual drawing and just coloured it in what I felt looked decent and worked. I wanted the image to have an almost screen printed retro feel to it with the flat bold colours, clashing just enough to get your attention but hopefully not so much you need to pop on a pair of sunglasses mid winter.  

Vicky Bentham-Green
Vicky Bentham-Green
My two greatest passions in Art are line and colour; I grew up on Dartmoor surrounded by a dramatic landscape and hardy livestock and would go out with a sketchbook to draw – I liked the challenge of capturing the ‘essence’ of the animals and the scenery. At secondary school my art teacher recommended I attend life-drawing classes. I enjoyed being able to draw the full human form but found I missed portraying movement. I love location drawing, sketching people going about their business and creating ‘characters’ in just a few lines.
I chose the tale of the Frog Prince as my female figures tend to have a whimsical air and my animals a personality of their own; so when brought together I felt they represented well the ridiculous and yet wonderful sentiment of the tale.
I start my illustrations by drawing subjects from reference or moving image, sometimes I will capture a subject in one drawing, another time it will take dozens of attempts, but I will know when an image is the right one; it feels like a type of magic! I then work over the drawings, and create textured backgrounds, using watercolour or watercolour pencil.

Will Broomfield
Will Broomfield
The valentines theme took me straight towards a heart so I started with a basic outline, white on black. I wanted to make this piece unique with randomness, simply because you never know who you might fall in love with, it’s random. Having added colour to the individual heart, I thought it looked bare by itself, therefore I used the same illustration without colour with different opacity which created a heart series which I think has worked well.

Categories ,2015, ,Alison Day Designs, ,An Affair to Remember, ,art, ,East End Prints, ,Eugenia Tsimiklis, ,Florence Zealey, ,Helen Dodsworth, ,Holly Farmer, ,illustration, ,Joanna Long, ,Laura Barrett, ,Le fabuleux destin d’Amélie Poulain, ,Love, ,Myfanwy Tristram, ,Open brief, ,Queen of Hearts, ,Reality Bites, ,Rich Banks, ,Romance, ,Sarah Stendel, ,Scott Mason, ,True Romance, ,Valentine’s Day, ,Valentines Open Brief, ,Vicky Bentham-Green, ,Will Broomfield

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