IDEAS FACTORY

https://www.tate.org.uk/whats-on/tate-modern/exhibition/olafur-eliasson

OLAFUR ELIASSON - COLD WIND SPHERE - 2012 - Photo taken by me at the TATE exhibition

I looked into Eliasson's 'In Real Life' exhibition when designing the main structure of my design. I took inspiration from the hanging sculptures he created. Similar to Daniel Widrig, Eliasson's sculptures were not smooth and had an almost lattice imprint. To add to this, I looked at how Eliasson displayed his works of art, such as the way they were hung from the ceiling. In my own work I used a similar style and suspended my inner design to be suspended from the ceiling, as well as, also having structures at the bottom in order for it to appear as if it was 'floating', therefore perhaps suggesting it being in a different world. 

OLAFUR ELIASSON - MODEL ROOM - 2003 - Photo taken at my time at the TATE  exhibition

Looking at the Eliasson model room at the Tate inspired me as to how I could mock up my ideas to better communicate my ideas. Through using an array of materials Eliasson plays with structure in a 3D setting with his models, by doing this he is able to grasp how successful the thinks the mock up will be as a final outcome. It was fascinating to see his development from paper models to giant metal structures hung from the TATE ceilings. Seeing this model room further inspired me as it allowed me to visualise how much work goes into a single installation in the exhibition I was about to walk through., Especially with the model room being the first of many rooms of the exhibition, it was the starting point of Eliasson's ideas and the starting point of the exhibition.

Own sketches drawn whilst visiting the Olafur Eliasson exhibition at the TATE

When looking at Eliasson's sculptures I was inspired to adapt my idea in a similar way. The above are research sketches I drew whilst at the exhibition for later reference. taking inspiration from the 'Cold Wind Sphere' I looked at creating these latticed structures, of which I can later reference in my work.

CORE DESIGN AND TYPOGRAPHY

BARBARA KRUGER - FOREVER

Use of black and white text is simple but type is made bold through use of capitalisation and use of scale. In this way Kruger has used text as a large scale image.

CORE DESIGN AND TYPOGRAPHY

- Poster

Research material gathered from 'Posters a global history' By Elizabeth E Guffey 

STEFAN SAGMEISTER, Poster for AIGA lecture, Cranbook, Michigan, 1999

Within this photo Sagmeister allows the text and image to physically combine. This is a very graphic way of communicating a message through the combination of text and image - using shock-factor in order to grab the attention of the audience. This allowed me to also think about using the body as a way to communicate.

Top photo: 'THE BILLSTICKERS' EXHIBITION' Cartoon from Punch (1847)

Bottom photo: 'THE BRIGADE OF SHOE BLACKS, CITY HALL PARK', c. 1866

This image was interesting to me as a way of how I would display my final poster design. Looking at the best ways to communicate. The above images show posters being plastered onto a large area. A singular poster design or a fe variations communicating a message may be effective to be shown in this way - through the pubic being flooded with a singular communication.

MARCEK DUCHAMP, "Dada, 1916-1923' Sideny Janis Gallery, New York, April 15 to May 9, 1953, photolithograph

This piece stood out to me through its use of collage. By using a red type overlay a clear message is still communicated to the audience despite an influx of information given through text within the piece. By the wording going from the top right corner to the left hand bottom corner it is more uncomfortable for the audience to read, this may have been done purposefully in order to add to the 'confusion' of the piece.

EDUARDO TERRAZAS and LANCE WYMAN, 'Mexico 68', 1967

By using imagery to simply compliment the type within this piece, as an audience we are drawn to the text 'MEXICO'. By using a simple monochrome tone to the design, disregarding the Olympic Rings, the image is less offensive than it might have been. As well as this, the use of the lines surrounding the type are effective in further communicating the presence of the Olympic Rings, by 'ringing' around the type.

VICTOR MOSCOSO, 'The Chambers Brothers', 1967

Within this poster design by Moscoso the text becomes part of the image. By intertwining both image and text Moscoso is able to create an interesting image with a hidden communication. By having the text in a more apparent, darker colour than the background image, the text is able to still be visible within the piece. 

CORE DESIGN AND TYPOGRAPHY

-Making Meaning

SINGAPORE SAMARTIANS - Ambigram posters

[small copy reads: The signs are there, if you can read them]

The use of ambigram posters can be effective as a form of communication through the audience having to look further into the design of the type in order to read the full message. Another example is shown below. 

SINGAPORE SAMARITANS -Ambigram posters

Research material gathered from 'Print Workshop' by Christine Schmidt.

CORE DESIGN AND TYPOGRAPHY

-Say It Loud

FRASER MUGGERIDGE - SPECTRES OF MODERNISM - 2017

I looked at Muggeridge's work as I thought he communicated a clear message. Through his combination of text, colour and placement Muggeridge explored the idea of outdoor places, particularly the lack of. 

COLOUR

Muggeridge used bright contrasting colours to draw attention to his work. But upon further looking at his work a connection can be made from the words to the colour p-allate chosen. For example, in the final image 'children need sunlight to grow' orange and yellow colours are used which often represent the idea of light and sunlight, as well as this, for his piece 'Land grabbing Sucking Shunts' a green background is used with pink type - this could represent green grass with pink flowers. Muggeridge may have done this to try and introduce these things into the concrete environment simply through his words. 

 PLACEMENT

I also enjoyed Muggeridge's use of placement. Through displaying his work on a bland, concrete and dated flat block, it not only makes his work stand-out against the grey and therefore become more compelling to the audience, but it also amplifies Muggeridge's. message of today's concrete society.

TYPE

The use of simple sans serif font in my opinion is another aspect of Muggeridge's work I enjoy. By using a simple font he is spreading a message which should be simple to understand. By not illustrating the type the message is more concise and clear Muggeridge's use of capitalisation of text is also worth noting, with 'children need sunlight to grow' all being in a lowercase type, this could represent the softness and innocence of this message. Whereas in the quote 'Land Grabbing Sucking Shunts' a much more harsh and angry tone is created through not only the text but also the use of capitalisation of every starting letter, this creates the feel that the quote has importance.

CORE DESIGN AND TYPOGRAPHY

-Making Meaning

Martina Flor - The secret language of letter design - TED talk

Flor started off her talk by discussing how typography adapts as the time goes on. To explore this idea, Flor took the 'TED' logo and discussed how this might change depending on the era of which it was produced. First looking at type from the Roman Empire, and how the typography of 'TED' may have involved labour etching words into stone. Similarly in the Middle Ages the type might have consisted of a monk writing a calligraphic style type with a pen and paper. Already displaying two wildly different styles dependent on the era in which they were produced. 

MARTINA FLOR - 2016 - TED talk - Screenshots taken from presentation

Flor then looked at how an audience affects the way typography is shaped. An example she used was if 'TED' was an event for children. A much more playful, colourful typeface would be used to attract a different audience. To add to this idea Flor discussed the impact on type if the talk was based upon superheroes, for this the type she created was inspired by 'Superman' and was very cartoon like.

MARTINA FLOR - 2016 - TED talk - Screenshots taken from presentation

Through looking at a typeface, disregarding what it plainly says, you can understand a lot about the words, such as which era it is from and the importance of what it is saying. For example, is it carved into stone or simply printed onto paper.

Flor then went on to speak of how our days are full with letters. From adverts at a bus stop, bakery logos to the keyboard on our phones. And since the beginning of time, people have given image to a language. Through language being the most important communication tool we have, whether that is to simp express our personal opinions or to advertise and communicate something to a much greater audience. Some letters let us know something is modern and new, others authenticate importance and monumentality of a place or object, they could do this through using uppercase or specifically choosing what the type is carved into. Furthermore there are letters that it is clear they only wish to communicate a message for limited time, such as a specials menu using chalk on boards. 

Flor then spoke on her experience when moving to a place of which she was foreign to (Berlin).  Like many others she could not fully understand the language around her, but though not being able to understand what street signs or lettering around her meant she gained a grasp of it through looking at shapes within letters and the style in which the type was presented. Flor could recognise where tradition was important, or when the type was trying to give a signal, such as 'stay away' or 'do not enter'. She exclaims that through understanding which letters were particularly important she found it easier to navigate the city. Similarly Flor speaks on her experience in Paris finding a bakery of which the type was clearly the produce of long hours of work. And her thoughts through if the type is so cared for the food inside the bakery would match it, encouraging her to venture inside and purchase goods. Through this example Flor looks at it is clear that the type used can easily effect audience perception of brands, and therefore emphasises types importance to business success.

Flor then discusses her own experience of using type when commissioned to produce the cover of a book 'Alice in Wonderland'. Below are a few examples she explored. Flor experimented with looking at only enlarging letter of importance, and minimising other such as 'in'. Flor experimented how the type she used on the cover could convey different aspects of what the story entails without using direct images to do so. Such as looking at the classic aspect of the book Flor used an older font choice with the lettering all being the same size and very simple - almost exclaiming through this that the title of the book speaks for itself. Alternatively Flor looked at the fun/comedic side of the book by using a more serif type and experimenting with sizing within her type.  

MARTINA FLOR - 2016 - TED talk - initial ideas for her book design

MARTINA FLOR - 2016 - TED talk - Final result from her book design

For the final outcome Flor described her use of type as displaying an image 'letting the reader see the story through a peephole in the door'. Flor created the typography and shape of the letters to work like a tone of voice - looking specifically at the gesture and tone within this voice. Flor spoke on how she thought she would like to say the title before producing the literal text. 

Flor then goes on to discuss how the tone in which she speaks on phrases can affect the way they are typed in a literal sense. Such as through use of colour, shape - are the letters rounded or squared off, more expressive or precise. In a sense language became a perfect tool through which Flor used as an expression - if it could not be said by speaking it could be produced as type to display a message to the world. 

Telling stories through drawing letters. Flor finishes through exclaiming that she is searching for a reaction in the reader, to wake them, make them dream, make them feel moved.  

CORE DESIGN AND TYPOGRAPHY

-Making Meaning

Graphic designers often get creative through their placement and looking at the meaning of text. As a playful part of a designers practice they may drastically change the location, type font (uniform, serif etc) or capitalism, as examples, in order to allow the audience to challenge their thoughts and further engage in the image through the design being thought provoking or unusual to look at. Some designers who showcase this well are:

Mr Bingo

Mr Bingo is an illustrator and artist who is well known on social media and sells his prints online with other items, such as the 'Don't forget to have fun', a handmade concrete gravestone, shown below. 

His pieces are incredible thought provoking to the audience through Mr Bingo taking phrases such  as 'Don't forget to have fun', which alternatively could be found in a colourful setting, such as a theme park, before a ride etc. But he has completely flipped the meaning placing it on a concrete background and carving the words out, it reads as almost a warning. Almost as if he is telling the audience to have fun before they are in a sense no longer here and have their own headstone at death. Furthermore the 3D art he has created could mean a numerous amount of things, such as a warning from those who have left earth. With so many meanings and the interesting use of capitalisation of the words along with underlining, the piece makes the audience think. And is therefore very effective in my opinion. 

MR BINGO - HAND MADE CONCRETE HEADSTONE

CORE DESIGN AND TYPOGRAPHY 

-Making Meaning

Penguin random house

Random House is an American book publisher and the largest general-interest paperback publisher in the world. As of 2013, it is part of Penguin Random House.

Through these book covers a general meaning is portrayed through the use of text and image working together. Through looking into what the images could mean and positioning the words in effective ways which work for the specific images used. Such as the use of blank space used in Jonathon Safran Foer's 'I'm Ok', which was the initial title and design for the book now titled 'Extremely loud and incredibly close'. I liked this book over through the confusing images used which makes the cover very busy but the words are still legible to the reader. Even though perhaps the audience are intrigued to look at it further as the title is interesting and at first slightly confusing to read. 

 PENGUIN RANDOM HOUSE - JONATHON SAFRAN FOER 'I'M OK' - 1999

Furthermore the two covers below show a similar working method. Combining text with image allows them to much more interesting to look at for the audience.

In the cover for 'Gravity Rainbow', the first image being the original cover produced in 1973 by designer Marc Getter. And the second image was produced in 2012 by Matt Broughton for Penguin Random House UK. The idea of the rocket ship shape was introduced to the cover of the book, in 1995 for US Penguin Books. 

A very clever way of working has been used to combine both the words in to an image which backs the text. In this way even without the text it is possible to gather what the title of the cover may be due to the imaging. As well as this, the 'Gravity Rainbow' written by Thomas Pynchon.

L-R    (BREAKFAST OF CHAMPIONS)     (MATT BROUGHTON - GRAVITY'S RAINBOW - 2012)     (Marc Getter -GRAVITY'S RAINBOW - 1973)

CORE DESIGN AND TYPOGRAPHY

- By hand

Design week interview with Seb Lester

DRAWING INTO PRINT

-Lost Letters

Within the research photos below created by Nick Morley, type is transformed into image through the use of tactical positioning and the addition of shapes. This allows for a creative image to be produced through the hidden lettering. Morley has shown this in three different ways below. 

NICK MORLEY - Pinocchio - 2012

Within this idea Morley has adapted the letter 'A' to become an image of two animals' noses. I would have liked to see how Morley could have adapted this idea further into a more solid communication, as in this stage, the image is more up for interpretation. To add to this, I enjoy Morley's use of using only three colours within this piece, white (background) as well as the red and black paint. This allows the image to look simplistic in its approach.

NICK MORLEY - 2012

In this design Morley has used a large image in order to mess with the viewers perception on the text. Without the image the communication may not be as clear. I like the use of colouring within this piece, by using a light brown shade Morley is able to tie in the type with the image, in my opinion, when I look at the workman's hands I envision this dust brown colouring and therefore this adds to the story of the image.

NICK MORLEY - Linocut Boy - 2012

In this final image Morley has used only type and characters in order to create this image. By using prime colours the image reminds me of something that would be included for younger ages, such as a children's book. By using the white space around the type Morley has been able to allow the image to still look simplistic and minimalist, to and extent, despite the use of four colours, as well as, a background colouring. I think this method of work, where Morley creates an image from type is very effective, and an interesting visual to look at.

DRAWING INTO PRINT

- Print

Research material gathered from 'Riso mania - the new spirit of printing' - written by John Komurki - curated by Luca Bogoni and Luca Bendandi

Left hand side: Charles Nypels Labl - Luca Bogoni, Provoking DDG, A2, 2016

Right hand side: Eleonora Marton - Red and Blue posters

I looked at this as inspiration of more screen printing outcomes. I particularly liked when the outcomes did not look completely clean and perfected. 

DRAWING INTO PRINT

- Print

Research material gathered from 'Print Workshop' by Christine Schmidt.

Final outcome from silkscreened band merchandise

Within this outcome I looked at the overlay of the red and blue colours in order to create a more relaxed feel to the finished outcome. As well as this, similarly to my workshop this outcome uses three basic colours, blue, red and white (background colour). Also this piece allowed me to think of the effect of printing my outcome onto alternative materials, such as fabrics.

STILL AND MOVING IMAGE

- Theatre of visual effects

I found the use of sound within the NOW TV advert an effective use of building atmosphere and tension within the clip. To add to this the sound of a ticking clock (presumably) added to the communication of the clip through making the audience feel there is a feel of a deadline and the feeling of a ticking time bomb - this is effective in enticing the audience to look further into the show advertised.

 As well as this, the use of short 2 second clips add to the fast paced feel of the clip further adding intensity and ticking time bomb of the clip.

STILL AND MOVING IMAGE

Research material gathered from 'Object that dreans' by Zoren Gol and Minori

- contemporary approach to surreal photography. Combining photography, illustration, collage and graphic design.

'KAHIMI MARIE' published in MARQUEE

MAKE UP: Kaori (avgust)

'KAHIMI MARIE' published in MARQUEE

MAKE UP: Kaori (avgust)

Looking at covering the identity of the model through the use of fabrics. This allows me to focus more on the styling of the photograph upon first glance, rather than the models face. The emotions are therefore seen through body positioning and materials. Within these photos there is. contradicting feeling of the model both being trapped and restricted - through the material being wrapped around the face. But equally the rest of the body is free from restraints and through the model being 'in control's the fabric wrap over her face there is a feeling of liberation and power within the photograph.

PERSONAL WORK - Zoren Gol and Minori

I enjoyed the arrangement within the authors own work. An interesting way to display a final outcome - or a work in progress, including materials etc.

STILL AND MOVING IMAGE

- Theatre of Visual Effects

HITO STEYERL

https://www.artforum.com/video/hito-steyerl-how-not-to-be-seen-a-fucking-didactic-educational-mov-file-2013-51651

German artist Hito Steyerl displayed her latest exhibition at the Seroebtube Sackler Gallery. Within which she explored the digital world in relation to capitalism and society through multi-media works, and the theme of amplified reality. Steyerl created a multi-sensory show, making use of all parts of the gallery

Steyerl uses a mixture of imagery, type and sound to communicate her message of exp[loring capitalism within her short-film 'How Not to be Seen: A Fucking Didactic Educational' - 2013. Steyerl also uses an interesting use of projection within her work, creating depth within her piece. Steyerl also uses physical presence with her work, creating more depth and emotion within the piece. 

HITO STEYERL - 'HOW NOT TO BE SEEN: A FUCKING DIDACTIC EDUCATIONAL' - 2013

JOOST REKVELD

 https://www.youtube.com/watch?v=ZI3JvlueWaI

Motors of Invention and Light Matters #2 - 1993

Looking at combining light and image Rekveld creates tension through using a 16mm film, which creates a grainier image. Through focusing on a singular light, similar to the work we did during our Theatre of Visual Effects workshop, as it appears Rekveld is using a variety of light responsive materials, both opaque and transparent, in order to create a visual imagery. The sound relates to the visual

LEN LYE

 https://www.youtube.com/watch?v=AHN9IHGQxk8

Len Lye uses an stop-motion animation style, to create a story within Lye's work. The music allows the visual to be more entertaining to watch, through adding character to the visual. The audio behind the image also changes the meaning of the piece, for examples if the music contained a darker tone it could allow the meaning of the visual to become more dark and negative. I also like Lye's use of colouring within the video - the bright colourings further communicate the feeling of joy within the piece. 

LEN LYE - 'Rainbow Dance' - 1936

SUSI SIE

She uses both audio and image to create an overall communication within the piece. In Sie's case the visual comes from the sound.

SUSIE SIE - 2016 - Macrocosm

STILL AND MOVING IMAGE

- Theatre of visual effects

Larry Bush 'untitled'

Working predominantly with film in his most recent works, Larry Bush has been fascinated by the aesthetic qualities of colour and line. This particular piece is centered around the use of 16mm film, painting and etching directly onto undeveloped film, and the warped, abstracted images of advertising amongst London’s busy centre, - exploring the emotional qualities of the colours utilized, in both digital and analog film.

 Bush uses a series of short film videos in order to create a tense feel surrounding the sport-film. By including text into specific scenes Bush is able to effectively display his communication.

STILL AND MOVING IMAGE

- Do Undo/Redo

Research material gathered from 'Mode Foto Mode' By Sibylle Bergemann and Horst Wackerbarth

DOMINIQUE WENDISCH - Berlin, 1989

I liked this photo by Wendisch, mostly for her use of shadowing for adding depth to the photo. The dotted shadowing creates a relaxed feel to the image and allows me to think of an English summer day under trees. The photo appears enticing to me through the use of texture within the flat image, both through the shadowing, on the back wall in particular, and the texture within the dress worn. Allowing a depth of tones to be used within the photo - despite it being in black and white.

JANCE DICKINSON-FIELDS - Chateau du duc de normandie, Touques, 1991

I really loved the contrast within this photo produced by Dickinson-Fields, through putting the focus on the background a strong silhouette is shown. This allowed me to be forced into looking more into the shapes of not only the structure of the cave surrounding the model, but also how the clothes lay on the models body. Again this is effective in black and white - but could also be an interesting concept if the foreground was still blacked out with a coloured background.

VERENA TROELTSCH - St. Tropez, 1990

Within this photo Trorltsch is able to create an interesting image through the positioning of the model. Creating a care-free feeling to the piece through not only the emotions of the models face but also the contradiction between the smart styling and the laid-back fun position taken by the model. An interesting concept.

CONTEXTUAL PRACTICE 

STEFAN SAGMEISTER - Banana Wall ' Self-Confidence Produces Fine Results' - 2008 - Exhibition: Dietch project.                                                                                     

STEFAN SAGMEISTER - 'Self-Confidence Produces Fine Results' - aftermath of the exhibition.

Stefan Sagmeister is a renowned Austrian-born US contemporary graphic designer and typographer. Sagmeister is known for making text come alive, such as 'Banana Wall' displayed at his exhibition 'another exhibition about promotion and sales material' at the Mudac museum of Design and Contemporary applied arts in Switzerland. In the image above 'Self-Confidence Produces Fine Results', using 10,000 bananas and a heap of glue and a giant wall of the Dietch Gallery, Sagmeister created the ever-evolving piece. The interesting thing about this exhibition was how the installation changed over time, over 24 days the bananas turned from yellow to brown and hence in the end the overall message was lost. (shown below)

 STEFAN SAGMEISTER & LOU REED - Poster - 'Set the Twilight-Reeling'

Similar to the work of Kruger Sagmesiter often combines image and type, and on occasion will use a human canvases, for example Sagmeister's work for Lou Reed's 'Set the Twilight Reeling'.  Sagmeister plays with his work through a variety of mediums. Sagmeisters use of handwritten-type in the poster above creates a more personal feel with the reader through the rough, none-perfected typeface.

"Our work stood out, because it was something obviously handmade, human touched, going away from this cold world. I absolutely don't think that this is the solution to every project. I think each project calls for different strategies, not just content-wise but also form wise."
— Stefan Sagmeister

It would be interesting to see my own work develop through the use of more adventurous materials, such as Sagmeister's use of bananas.

WILLIAM KENTRIDGE - 'I am not me, the horse is not mine' - 2008

William Kentridge is a South African artist best known for his prints, drawings and animated films. His palimpsest-like drawings are later displayed with corresponding films as finished pieces of art. Displayed in his book '6 Drawing Lessons'.

In my own work when creating a new way to display letter of an alphabet. I could have created an animation or used a series of photographs. To do this I could have adapted the work I had already done. Or I could have champed my perspective and looked at something more abstract to display lettering, such as a series of movements recorded or photographs, for example of tree twigs.

Kentridge also questions the way we view images. In his animation 'horse' (shown above) a collection of torn paper is used to create a 'horse' silhouette. Depending on how you look at them image it shows two separate things. Both a horse, as stated, or simply a collection of paper. This idea could be adapted to my own work, when creating an alphabet can it really be seen to be an alphabet if all the pieces are fragmented, when together as a whole (26) the message is more clear. 

CONTEXTUAL PRACTICE

"I just say I'm an artist who works with pictures and words." - Barbara Kruger

BARBARA KRUGER - Untitled (We don't need another hero) - 1986 - Photographic silkscreen/vinyl. 277cm x 533cm

Barbara Kruger is an American conceptual artist collagist. Her most well known work consists mainly of black and white photos overlaid with captions set in white-on-red Futura Bold Oblique. By 1979 Kruger started to use found images in her work instead of her own photography, mostly from mid-century American print-media sources. Much of her work questions the viewer on feminism, classicism, consumerism and individual autonomy and desire, although her black and white images are taken from mainstream magazines that usually display messages she is questioning within her work, irony. 

Within my own work I was inspired by Krugers way of working with words. Our developed alphabet consisted of a main image split in 26 ways each representing a letter. In the image we used was a series of sketches/drawings. In this way we took inspiration from Krugers use of combining image and text to amplify a message. Furthermore when continuing this project further I would definitely look into the use of a singular image representing a letter and therefore conveying message and meaning without the presence of text, of which Kruger does well when choosing her images in her own work.

STILL AND MOVING IMAGE

- Do/Undo/Redo

Looking at still life photography.

Wilma -  http://wearewilma.com/editorial

           WILMA - Gold story - for GQ Magazine                                WILMA - Shoes - for GQ magazine

Wilma is a brand consisting of still life photographers William and Martin. Shooting for companies such as Adidas, Reebok, Grey Goose, Wonderland and GQ (as shown below). Wilma focus mainly on the still life products, using the singular product in the frames taken instead of a variation of products mean the images are crisp, clean and to the point. Through using a blacked out background, in the photos below, the images produced look clean and the use of reflection creates depth to the photos. 

Leandro Farina - http://leandrofarina.com/#index

I liked these images my Farina, as they almost combine busy and simple images. Simplicity within the images is created through the colour palette, but a busy aspect is also within the photos through the blurred lines and use of shapes - creating movement within these images. These still life photos are very intriguing to look at, Farina's use of shape is evident throughout the images, and creates consistency within her work. 

Jess Bonham - https://www.jessbonham.co.uk

JESS BONHAM - Bloomberg campaign             

I liked the concept of this still-life photo shot by Bonham, despite using the same colouring on both the bag and the fabric slides behind it, the object, bag, is still clearly visible through Boham's use of shadowing. The image is also engaging through Bonhams capturing of different fabric patterns, such as the snake skin on the bag being drastically different to the blue striped background used. The blue stripes combined with the red give the image a spring/summer vibe to the audience, simply through the colourings used and the way, in which, they are captured.

 JESS BONHAM - Vanity Fair campaign

Within this shoot Bonham experiments with the shadows and reflections within the images. Creating texture within each shot. The styling of the shot also intrigues me, through the use of block colours layering with the same colour in the first shot. Through this a wholeness feeling is created within the image, specifically through the lack of white space. Within the second shot Bonham used a zoomed in frame of the object, this allows the audience to look further into the texture of the object, this is amplified through the use of a reflective material in the shot.

JESS BONHAM - Vogue - MCM campaign

I like Bonham's use of colour within these images. The cut out, almost ripped paper, creates a playful and young feel to the overall emotion of the image. To add to this, through the positioning of the objects being in the centre, surrounded with the paper cuts the audience is drawn to the object, through the positioning of the materials.

 Bonham also plays around with perspective within these images, with some of the key objects being set further back and other closer.

 Lorenzo Vitturi - http://www.lorenzovitturi.com/a-dalston-anatomy/

LORENZO VITTURI

Within these images Vitturi plays around with composition. By stacking the objects above through defying their gravity and stacking them in an 'unnatural' manner, Vitturi is able to capture the audiences attention to the work. Keeping the background pretty minimalistic, Vitturi is able to keep the audiences attention on the objects. 

 Sharon Core - https://www.guggenheim.org/artwork/artist/sharon-core

    Candy Counter 1969                                  Confections

SHARON CORE - 'Thiebauds' series (2003-05)

In Core's 'Thiebauds' series (2003-05) Core looks at the relationship between painting and photography.

Sharen Core creates a timeless feel from her selection of still life photographs. Through shape and colour Core creates soft images. By focusing mainly on a minimalistic approach core creates a calming atmosphere through not only the simplicity of her work, but also the bus 'hue' set over her images in retouching. Despite being a cool toned hue this amplifies the warmth and softness of the images through her use of continuing to play on the older image feel.