I’ve discovered I find it difficult to find portfolio websites that I like. They all tend to look too graphic-y and shiny and same same. I absolutely hate it when the images span over the whole page and you have to scroll forever to get an overview and I don’t like clicking through loads of options to get to a project because that means you always have to go back to see another project. I also don’t like it when the projects only have names and not images from the start because when I then choose to click on the name and I don’t find the project interesting, that was an unnecessary click.
The biggest struggle I have had when knitting is the fact that once you have made your loops, it’s done. It’s there. The design is in the piece and there is basically no way of changing it. When I usually design something I can fiddle about with it for the longest time but now I have to make decisions and stick with them. Not used to that! So moving on to the second poster I made way more sketches for the design than I did for the first one as I was making it.
Alterations to the design, Lisa 2018
I went to an exhibition at Fotografiska when I was in Stockholm last and saw Chen Man which I found really inspiring. The way the exhibition was curated was really beautiful, the dark and light contrasting, the use of lots of red, pink and blue and the way her photographs almost looked like they shone from within.
Chen Man at Fotografiska, Stockholm
After looking into so much photography I decided that my project would be photography based. I really wanted to make something big/ build something but I just couldn’t see it happening. I kept thinking about all the logistics surrounding it, where could I get material, would I have to buy tools, why am I even building something, how would this relate to graphic design? And I thought that, because I don’t have much photography stuff in my portfolio, that could be worth exploring. I thought about how to combine photography with light, how light affects what we see, what happens if you change the colours in an image etc. Also, because I don’t really like photographing things, I mean if I see something that would make a nice image I like to get my phone out and take a picture, but I don’t enjoy fiddling about with a complicated camera, thinking about the studio set up and shutter speed and aperture and all that, I thought this would be a good challenge for me.
Deciding the theme for my project would be “light” but not yet knowing what to do with that, I looked into some artists that has worked with light like Picasso and his light drawings and Cerith Wyn Evans’s huge sculptural light installations that I went to see at Tate Britain last year and really liked. Picasso’s drawings/photographs are so amazing but making something similar without it feeling like I’m just copying would be really difficult.
Picasso drawing with light, Cerith Wyn Evans sculpture at Tate Britain
Final major project did not come easy to me in terms of knowing what I wanted to do. There is something very daunting about the words “final, major” and it caused a huge creative block for me. In the same way I can find it difficult to make a poster because all the pressure it has to represent so much, this was the same although now it has to represent me(?) yikes.
For the new portfolio brief I have been looking at different websites of graphic design and illustration to see how other people tackle this as I have no idea where to start. Surprisingly, I realised quite quickly what I liked and didn’t so that’s good. For instance one thing that makes me close a site as soon as I open it is when the designer has images of work covering the whole screen. Don’t like that at all. It feels too shouty and I can’t wrap my head around what I am looking at because I have to turn my gaze all over the screen and don’t know what to focus on. For instance:
Portfolio research 1
Back to the cover! After some feedback from Tom telling us the cover doesn’t read well and that it feels too composed and digital, I got back to thinking about it and decided to start over with the whole composition. I scanned the ink letters I had and printed them out in different sizes, cut them out and started to compose some designs on a piece of paper in front of me, taking photos as I went along. I tried some organised layouts, some messy, and them started cutting up the letters or gluing them down to a piece of paper and them crumbling them up. I tried to make something happen. But it wasn’t happening. I wanted it to look like the messiness of a cover of Emigre magazine but everything I did just looked boring. I began to realise that the whole process was starting to feel like a huge weight in my brain, it wasn’t fun anymore, I don’t like the name anymore and I don’t like the typeface.
One of my work placements will be creating a magazine for the visual communication department at The Cass. The only criteria it has, is that it needs to be Riso printed and Riso printing opens up for being creative with layering work and stuff but it’s also kind of restricting in terms of the colours we can use, the images that will look nice and just the over all production of it. It can’t be too complicated in terms of layering to get multi coloured images because we have to keep in mind the scale of everything and the numbers of masters used in creating only one page. It is going to be a huge project anyways so we have it make it manageable but with less means I think. So first course of action was that we as a group undertaking this placement sat down and found some inspiration of publications and Riso printed material and collected everything in a shared folder to kind of figure out what we all liked.
My third concept is more about how you use the bench. Different ways you could sit on it, stand on it, lie down on it. I thought about how Charles and Ray Eames had a very playful relationship to their furniture pieces when photographing them and wanted to do something similar for this.