Concertina Development

Here are some tests of colours and layouts for my mini concertina design I plan to take to Hanbury. I want to create a mini book as more of a limited edition sort of business card which shows the kind of themes I enjoy working with - including narrative and cultural details.

LinkedIn Profile

I made a linkedin profile! So far, I am just getting used to how everything works and the best way to present myself by adding my work experience, etc. Eventually, I will use this platform to post the things I am working on (much like instagram) and contact people I would like to work with.

Francesca Sanna Interview

1. What is your favourite type of brief to work on? 

(Any particular topics/themes you like working with?)

It is very difficult to find a "type". Anything I feel a connection with, anything I know I can bring into my world (if not entirely at least some elements of it). 

Of course there are themes I immediately feel connected and interested with, like anything that has to do with diversity, feminism, storytelling in general.

2. I am particularly interested in your book 'The Journey', it's so beautiful! What was your process for coming up with ideas? 

What research did you do?

The research behind The Journey was a long process. I spent sometime listening to stories of people from different countries that had undertaken very difficult journeys. 

I also did some research on historical document of Italian immigrants in America, for instance, and on current newspaper and social journals, because I wanted to think about the topic in a more "universa" way, rather than just focus on a particular experience. 

3. Do you think images can be just as important as words when telling a narrative?

Absolutely, and even more interesting is the relationship between text and images in a visual narrative. Playing with this you can show different points of view in a single page, or underline metaphorical aspects of the story. 

4. How do you find a balance between personal and professional projects?

This is a great question. Many of the projects I started as "personal" found a "commercial" use after I made them. On the other hand even with a brief that has nothing personal I always try to put something from my "experience" or from "my obsessions", something I like or I can relate to. And when I don't feel very connected with a project I am working on, I usually try to start with a much more personal one, that I keep on a side.

5. Where did you grow up in Italy? And do you think this influenced your work in any way? 

(I have worked in Bergamo and Desenzano and have a soft spot for Italian culture)

I grew up in Cagliari, Sardinia. The window in my bedroom was directly in front of the sea, I used to follow the ferries as they entered in the harbour as one of my main hobby when I was a child! 

Of course growing up on a (quite big) island influenced many aspects of who I am, included my work. The sea is a very important element in my illustrations and my stories, and its dual aspect – the fact that it can be a very positive but also a very scary, dangerous element, always fascinates me. 

6. Is there any advice you would give to someone just starting out in the industry? (Like me) and are there any people you can recommend that I talk to? (About how the industry works, etc.)

Maybe the main one is to share your experience with other people that do the same job, or that have similar professions. Friends and colleagues for me are the main source of help during very stressful periods of time. 

I think that if you are interested in picture books a very different point of view could be the one of a publisher, or someone who has more an overview on how "the market" works. 

I always find interesting to hear that side of the process of making and selling books, so I would suggest you to look for these kinds of insights.

Concertina Ideas

I have started to think about what I can take with me to the Hanbury Hall event. I want to produce something small (business card like), so people can put them in their bags - but a bit more special and interactive. At the moment I am thinking about making mini concertina books to hand out, which include my details and contact information.

Christmas Task

Potential Questions for Hanbury Hall

• What do you look for in a portfolio?
• What advice would you give to someone wanting to work in the creative industries?
• Do you think it's important to treat our practice like a business when going freelance?
• Would you recommend trying to get an agent right away?
• What can an agent provide? - Pros and cons.
• What do you look for when hiring an illustrator?
• Do you go back to the same illustrators once you have worked with them?
• Is an online presence important? If so, why?
• Do you think that social media can stifle creativity?
• Should illustrators follow 'trends'?
• Are trends counter-productive?
• Do you let illustrators take creative control over their work?

Ollie Averill Interview

I contacted Ollie Averill, as I really admire his work on instagram - he kindly confirmed permission to put his answers on my blog.

1. What is your favourite type of brief to work on? 

(Any particular topics/themes you like working with?)

I love working on Briefs that allow a little bit of freedom and creativity. At the moment my agent is helping me fill gaps in my portfolio, so they’re sending a lot of fun simple projects. For example, they’re getting me to do a lot of illustrated scenes which you’d see in a children’s book or an illustrated map. I find these projects really fun because they allow your imagination to run wild. 

2. How do you like to research?

I like to have quite a bit of written text out in front of me, so I can highlight specific scenes, sentences or words that really help with coming up with ideas. I also like to write notes in my sketchbooks, but my sketchbooks are mostly made up of really bad thumbnail images. Sometimes if I'm lucky I have the composition I want within 2-3 thumbnails. 

3. Do you think images can be just as important as words when telling a narrative?

For me images are just as important. You can have wordless narratives that tell amazing stories just with images, just as much as novels can without images. But in picture books I love my images to have a lot of energy and have a lot to look at. Images can show pace within a narrative and clearly tell the story on their own sometimes. 

4. How do you find a balance between personal and professional projects? Do they link into one another?

For a long time I have only been working on personal projects. I left uni unsure and unhappy about my style and took the decision to start over. Only recently I have been working on briefs from my agency so that’s all I've been working on lately. But if you are getting professional briefs, I’d concentrate on doing the best you can do on that brief and work on personal projects after to enhance your portfolio and whatever field of illustration you want to be in. Also make sure to keep doing editorial illustration along side as it is an easier route to get into. That’s something I wish I did a lot earlier.

5. How does your background influence your work?

I’m fairly new to the way I work. I use to be so stubborn and would never stray too far from a pencil. It wasn't until early third year of university while researching illustrators that I found a way I wanted to work. I loved illustrators with an innocent style, full of colour, textures and mark making. (Look up Marc Martin/Laura Carlin.) I just fell in love with it. But found it hard because I was so use to precision and detail. So yeah I guess I'm still very new to this way of working and picture books. It was never something I wanted to do until my later years at university. 6. Is there any advice you would give to someone just starting out in the industry? (Like me) and are there any people you can recommend that I talk to? (About how the industry works, etc.)
I’m also starting out in the industry and I still find myself asking questions, but they’re now directed at my agent. But before that I would email successful illustrators/publishers and when I was looking for an agency I would also email them for advice, but not all have the time to give out advice. If you are looking for an agent, then I would look up all of their websites and all of them will have a submission email on their contact page. I also found a former Art Director not long a go who gave me amazing advice. LinkedIn is perfect for trying to find contacts who might be able to give you some insight. 

also..

Are there any local events you go to or recommend that I go to?

I don’t go to many events sadly, I really really should. I went to the London illustration fair last week which was brilliant. I’ll definitely be going to more. If you join the Association of Illustrators, they’ll keep you informed of different fairs that you could attend. I will be researching and going to more in the near future because as an illustrator, it is more that just being sat at your desk, you have to be in amongst it. You need to be in those places and be involved. Be at the awards and the illustration fairs. Having a presence is so important. This is something I have recently just learned my self. 

I hope I answered all your questions well and I was able to be a little helpful? 

I’d also like to say that your work is great, and that I don’t thing you’ll have many problems with getting into the industry or getting an agent. You seem really love what you do and are determined. Hard work will make it happen! Good luck with your career, you’ll do fine!   :)

All the best

Oliver

Website Research

5 Websites that I admire

https://www.dutchuncle.co.uk

• Grid format.
• Simple and clean.
• A lot of white space and very little written information on the homepage.

https://www.handsomefrank.com

• Logo at the top.
• Grid of Images.
• Side Bar - pulls out with information on.

http://inkygoodness.com

• Image based.
• Social media icons at the top of the page - easily accessible.

https://www.itsnicethat.com

• Different sections labelled at the top.
• Visually consistent.
• Small chunks of writing.

https://centralillustration.com/illustrators/

• Grid format - clearly shows the imagery.
• Short description at the top.
• Sub-categories.

My Approach

I aim to make a really simple website that can effectively showcase my work. I want it to be mostly image based, with some information about the projects I have completed. A grid format seems to be the best way of doing this. As my work differ so much in size, I'm not sure how I will demonstrate this on the homepage. Another thing I want to include on the very first page is my email address. I want to make it the easiest possible way for people to visit my site and contact me. I also plan to buy my domain name very soon, hopefully my actual name is not already taken!

The Art of Networking - Career Track Tuesday

• Where to find events?
• How to carry yourself?
• What do I do when I feel awkward/strange?

Identify sectors that might want your skills.

Get an invite list from the organiser - targets.

Arrive early, if you go with someone don't stick with them.

Keep circle open!

Be interested, not interesting!

Ask Questions

• What brings you here?
• How useful do you find these events?
• What are you working on at the moment?

Names - just ask again.

Elevator pitch - logical levels.

Identity - Why you?

Values & Beliefs - Why?

Skills & Capabilities - How?

Behaviour - What?

Environment - Where, when?

Silence...

• Open ended questions.
• What do you love most about your job?
• What clients are you working with at the moment?

Exits

• Get a drink.
• Go to the loo.
• Don't leave someone on their own.
• Join another group.

Write on their business card where you met and add on any action you promised.

Email them, say nice to meet you.

LinkedIn & Twitter - Online profiles.

Task Part II - Target Audience

Who is my target audience and what is the overall aim of my work?
I don't think my target audience is one specific group of people, but I can pinpoint the kinds of people I think would appreciate and enjoy my work. The obvious audience for my illustrations is children, however, I am aware that it is the parents who buy books for the children. Therefore, I think within this area, my work appeals to parents who want to keep their children interested in a more sophisticated narrative, either intellectually (through historical subjects) or aesthetically, where they could read the tone of the images. I think my work can be quite atmospheric, so requires a child to appreciate the use of colours and composition - whether consciously or subconsciously.

Another group of people who could show an interest in my work are people who enjoy detail of historical and cultural narratives. Obviously, as the theme of my work is usually somewhere around these subject matters, people may be inclined to buy my work if they share the same passion for detail and the theatrical nature of this kind of storytelling.

The overall aim of my work is to tell a story. Most of the time, the main piece of narrative I am illustrating is only a small part of what is going on within the image. Considering composition, tone, depth and colour scheme all encompasses the idea of this.

How to Promote a Blog - Start Up Wednesday

Sarah Bates

• Engaging imagery, spaced writing - chunking (legibility) - easy to read.
• Large images - Inviting & Engaging.
• Wordpress - best for blog.
• Get people to share blog posts.
• Add keyword and title to images. 6-8 for the whole site.
• 1 keyword per image - do not repeat keyword too many times.
• At least one blog post per week, up to 3/4.
• Think carefully about the content.

Task - Personal Evaluation & Rationale

What  I think about my practice
My practice is based on the foundation of research into historical and cultural subject matter. I enjoy working with narrative and show this through the composition of scenes. Detail is important and something I always try and incorporate into my illustrations, both aesthetically and conceptually. Overall, I think my work is focused on visual storytelling, whether that be for publishing, editorial or promotional work.

Rob Lowe - Visiting Lecturer

Super Mundane

• Man-made rules. What even are they? Things we are taught, but we don't have to follow them.
• Technology.
• Tried lots of different jobs - varied practice - Anorak.
• Influences are poets, writers, etc - Not just other illustrators or practitioners within the same field.
• Ivor Cutler - intelligent nonsense.
• Dots & Lines - Leeds Train Station.
• Roughing - Informs the final outcomes.
• 'Style' - Billy Childish - originality & authenticity.
• Own typeface which goes with the aesthetic of the work.
• Don't take yourself too seriously!

Colours May Vary Interview

Andy Gray from Colours May Vary

Have you noticed a rise in the popularity of picture books amongst adults?

We have noticed an upswing in adults buying picture books over the last few years, but on the whole i feel that the books are being bought for children as gifts or by parents. It is tricky, as retailers, to know why a person is buying a book without explicitly asking the question. The move back to picture books seems to be following a more general return to physical media and a move away from screens/readers. The publishing in this field (through Flying Eye, Tate, Little Gestalten etc.) is of a really high quality and people respond to the physical nature of the object (paper quality, image repro, binding, smell etc.). These are objects to be kept and cherished, not a glossy glue bound kids book that takes a beating. Also - i think parents want to keep their children away from glowing screens as much as is possible, we have heard them say as such, and a beautifully printed book is an engaging way to do that.

In your opinion, can imagery hold as much value as written narrative?

Yes, definitely. I think narrative painting proved that a tale can be told through a single image, and the old adage 'a picture paints a thousand words' must have its roots somewhere. Of course, this very much depends on the imagery and how it is used, for instance wayfinding, pictograms etc. have proved extremely useful in graphic design terms, overcoming language barriers, being understood easily and by all. In book terms, artists like Jon McNaught have been masterful in conjuring narrative using a limited palette of colours and very few words, and recently Jean Jullien's playful visual jokes and witty imagery prove that sometimes words get in the way rather than add anything. Noma Bar is another who uses powerful wordless images to create meaning in addressing important issues. Most picture books however, especially children's titles, combine words and images, as the learning aspect and association of image/word is vital to how they are read. Even the simplest Miffy books are usually accompanied by simple phrases and have been translated into many languages.

How important is the relationship between word and image? Does one need the other?

I perhaps have answered this above to a degree. The point behind many children's titles, especially early years, is educational, revolving around language acquisition. Books that rely on solely image-based narrative require a more sophisticated understanding. This is probably why we see some of the Nobrow titles (the concertina books particularly, and the collections) appealing more to adults. Obviously context is everything and if the illustrations are underpinning editorial content for example, the relationship is key - one supports the other. There has been a proliferation in the use of illustrated content in magazine editorial, and in some cases the use of infographics makes complex ideas visible in graphic form. In picture books we primarily see a combination of image and word, which seems to stress the importance of both, commercially at the very least!

What do you think makes people want to buy print-based books?

As i eluded to earlier, tangibility, the 'thingness' of a book, is key. The cover art, the feel of paper stock under the fingers, the smell of the print itself, it seems very important to us. We spend our lives glued to a glowing screen, from dawn, through our working day, till dusk. Books, the act of reading, has been shown to help us achieve a clarity of thought, it is an act that can relax our brains. A recent book (and i apologise, i cannot remember details) details how our brains are still too primitive to truly get to grips with modern technologies. Add into this popular return to analogue process and methods - the return to the printing press, the silk-screen, even the photocopier-like properties of riso all lead to more tangible product. It gains (or re-gains) an aura which has been lost for a couple of digital decades. Personally i think this move started well over a decade ago and is by no means reserved for reading - slow food, long-form journalism, textile production, even running and cycling somehow fly in the face of perceived ideas of linear technological progress. and... reading a book takes you somewhere else, private rather than shared, internal rather than external.

The Creative Entrepreneur - Start Up Wednesday

Anamaria Wills - Cultural and Creative Consultant, Facilitator and Mentor

• Twitter - talking to people.
• Legal & Regulation.
• Run your practice like a business.
• Work in a studio - first year out - learn about illustration - how it works.
• East-street arts - Karen.

Setting up a business

What is good about it

• Your own terms.
• Money.
• Personal satisfaction.
• Control.
• Area for growth.
• Meet lots of other people.
• Flexible.
• Recognition.

What is scary

• Failure.
• Job security.
• Promoting yourself.
• Money!

Be employed - do jobs - money.

People who are working to get work - experience.

• Collaboration!
• Make sure the presentation of the work is professional.
• Do your homework - research into potential clients.
• The maker owns the intellectual property to their work - only if you send it over - employee.
• Designer - artist - copyright

Knowing Yourself

• Recognition - produce finished work!
• Love of the work, not the money.
• Tend to underestimate the time - got to be a good enough standard.
• Make sure the audience is relevant.
• Take informed risks - putting publicity in the right place.
• A clear sense of values and beliefs underpinning creative and business decisions.
• Particularly in difficult or challenging circumstances - use of English, spell properly.
• Recognise external threads and opportunities.

Commercial Aptitude

• Keep up to date with latest developments.
• Seeks out best practice.
• Identifies and seizes opportunities not obvious to others - wise up on latest technology, trends, etc.

Project Management

• Planning and managing to turn ideas into reality.
• Managing initial links between people, ideas and information at all stages in the project life cycle.
• How to negotiate, how to communicate with and act and reach agreements - win win situations.

Risk Taking

• Operates from hope of success rather than from fear of failure.
• Persists in pursuing goals despite obstacles and setbacks.
• Sees setbacks as due to manageable circumstance rather than as a personal flaw.

You will experience failure - lessons - identify where things could have been done differently.

Assess choices responsibly - weighs outcomes against values and responsibilities.

Customer Sensitivity

• Builds long term relationships of trust.
• Generates expectation of high level of customer service.
• Regularly exceeds customer expectation.

Networking

• Understands networking is a key business activity.
• Networks provide access to information, expertise, collaboration and sales.

Artist Network.

Innovation

• Uses imagination to develop new ideas and insights.

Leadership

• Become used to setting the standards.

Berlin - Salvador Dali Exhibition

As a big fan of Salvador Dali, we decided to go to the exhibition whilst in Berlin. Surrealism is probably my favourite area within traditional art. The idea of having to look further into an image to be able interpret it appeals to me a lot. Hidden narrative is evident thoughout Dali's work. Below are examples of this. The Don Quixote image in particular is fascinating to me - there is an army hidden in the figure.

Summer Sketchbook 2

The images in this sketchbook are all from my time in Italy, I found that the things I enjoyed drawing the most were the architecture and people. Whilst there, I drew a collection of statues. I didn't want to focus much on materials as it was difficult to take paints etc with me when I was travelling to different places, pens and pencils seemed to be the best option for me. I used a lot of my evenings to go to different parts of the town and draw things I found interesting.

Summer Sketchbook 1

Starting my summer sketchbook I drew quick imagery I saw around town. I started this before au pairing in Italy, where I found a lot of inspiration. I really enjoy reportage illustration when I visit places, but in second year I found that this fell to the wayside a little. It was nice to have the time to really just draw the things I wanted to, and ended up with a collection of drawings of the things I had seen over the summer. Drawing without the pressure of a deadline reminded me of why I chose to do an illustration course in the first place. I want to start being more free and experimental in the sketchbooks for my projects too.

Independent Leeds Feature - Taste Hunter

I finally got my hands on a physical copy of the new magazine! I really enjoy being a part of a local publication that brings together creators of all kinds, whether that's illustration, cooking, photography, etc.

Final Illustrations

Main Illustration

I did this illustration much more quickly than the others as I had a bit more of a time constriction from when I was asked to complete the image, cramming in the leisure activities I already had planned, to the deadline. Overall I am happy with what I produced, however if I was to do it again I would change particular parts of the image.

Title Illustration

Again, this was a fairly simple image to create. I like the inclusion of the title in the circle, and apart from that it is fairly similar to the last title illustration I produced for the foraging article.

Development

Changes

After completing the general shapes of the roughs I decided to make the taxi bigger in the frame, to be more of a central focus. I also changed the ratio of colours as I went along, thinking about the addition of people in the restaurant and a thought bubble describing the connotations of Bradford.

I also decided after starting my original idea for the header illustration that it was going to be too busy, because of this I added a plate with handles behind it and fewer items of food.

Colours

Colour Tests

I decided I wanted to select my colour scheme before starting work on the image, so I can just colour pick as I go along. As the subject matter is quite broad, about food, but also the actual restaurant, I didn't have a clue where to start.

Chosen Colour Scheme

I did a few variations of colour schemes, and eventually decided on one that contained pinks/blues. I think this was mainly due to my lack of time to develop something that was out of my comfort zone. 

I decided to carry on with the colours I had chosen after testing out on the first part of my rough. I think I would have changed and tested out different colours if I had more time in the development stages.

Final Rough

This is my final rough drawn out in Photoshop, I'm still not sure on what colours to use but I usually end up changing them as I go along. The details I will add in as I go along, at the moment I'm not sure how busy it will look. I have a few ideas but it's not realistic to use all of them in such a small frame. I am aware that I can get carried away with detail, so I'll make a conscious effort to not do this.

Roughs

Initial Ideas

I made a quick spider diagram of some of the key aspects to the article, that I may want to include in the final design. My initial roughs were based around the idea of the taxi, later developing on a few on the actual food and interior of the restaurant. I stepped away from interiors to not be too similar to the foraging article I illustrated right before this one.

Quick Digital Roughs

I played around with concepts on Photoshop to see if I could imagine how to compose my favourite ideas within the frame.

Independent Leeds - The Brief

Independent Leeds
I was very flattered to be asked to do another article illustration after contributing to the past two issues. The way this one was given to me was a bit different, for the past two I was just given a general overview of what the article was about and worked off of that. This time I was given the whole article, and it was told like a story from one man's experience of a local restaurant.

Tasty's
The writing focused on 'Tasty's', a restaurant on Roundhay Road. I particularly liked the inclusion of the recommendation of the taxi driver. Because the last image I did was based on food and sharing, it was a close up of food and hands, I wanted this one to be different. Hence, most of my ideas initially are from the outside of the restaurant, including the taxi mentioned.

Mock Up

Poster

As a final design, I liked the addition of the text at the bottom of the image. I think it gives it more context overall. I am thinking about making this a part of a set of musical themed prints, as it is an interest of mine - maybe a set of three using the same colour scheme. I made a couple of mock-ups to potentially put on my Etsy store, of which I want to create and add more things to in the coming months at uni.

Final Poster Design

Sweeney Todd - Demon Barber of Fleet Street

I decided to add a line from the film at the bottom of the poster. As I am a big fan of musicals I wanted some kind of reference to that in the image. Overall, I am pleased with the composition and colour choices I made. I think if I did the project again, I maybe would have chosen a subject matter that was a bit easier to think about in terms of different scenes and layouts. However, I am glad I took on the challenge of Sweeney Todd and I feel like I have put my own twist on the idea. I could have taken the steam coming out of the pies idea bit further, but for me it still has the desired effect.

Colours

I found choosing colours actually quite difficult for this subject matter. For a while I couldn't seem to get away from the dull blacks, greys and reds we are used to seeing in relation to the film and artwork. I tried to think about the time period a bit more, I took inspiration from the mid-Victorian era, doing this I managed to put together that was a bit more interesting and less of an obvious choice. I wanted my poster to be something that was recognisable as the story of Sweeney Todd, but also different to everything I have seen before.

Tests - Rough 2

After drawing out the Mrs Lovett character, I spent a lot of time working through different colour schemes. I found this very difficult, I still wanted the image to be recognisable as Sweeney Todd, however I didn't want to be really obvious with the colour choices. The tone also had to be right, I want it to be moody and kind of dull. I liked the yellow initially but something just wasn't right as an image overall, I then tried out darker clothes and a lighter background - but it looked way too mystical and witch-like. I think as I progress with the development of the design, I may need to think about an entire colour scheme which I can apply to what I have so far.

Tests - Rough 1

Character Work

I took rough 1 to work on initially, as the focal point is Mrs Lovett I think it's important to get that right first. At this point, I am just testing things out and working through potential ideas.

Colours & Composition

The colours I have used to work on this rough are very typical of the theme. I don't want this to be the case in my final design - I am trying to step away from the things people think about straight away when someone mentions Sweeney Todd. I will draw my colour inspiration from other topics relating to the story. 

What I don't like

I think this idea is far too busy and I realise I am spending more time working on characters, who in reality are tiny in  proportion to the frame, I think I will continue working on rough 2 and develop that further. I will leave this idea here and start fresh.

Costumes

Sketches of what Mrs Lovett could be wearing, I feel like this will develop as I decide on colours and styles within the image.

Final Roughs

Rough 1

Because I found it difficult to decide on one idea from my initial roughs, I chose two to develop properly on Photoshop and explore further. This is a rough idea, I don't know whether it is too far zoomed out - although I like the idea of including more of a sense of a old London street.

Rough 2

After rough 1 I drew out a plan of what a closer composition to Mrs Lovett could look like. I had an idea of creating an image out of the steam from the pies held by Mrs Lovett which I like a lot. Although the poster is A2 in size, I don't want it to be too busy, this is something I usually struggle with as I love detail - I can get easily carried away. I am also thinking about adding the hand of Sweeney Todd on the shoulder of Mrs Lovett. As this idea develops, I may change this as I think it could look a bit like a murder mystery. The blade is also all wrong, but I will re-draw this at some point.

More Roughs

Thinking about the different angles and compositions regarding Mrs Lovett and her pie shop, I went through lots of variations of similar ideas. I knew I wanted Mrs Lovett and the pies to be the main focus, however it was quite difficult to decide on an angle. Also, I feel as if I might include a subtle reference to the character of Sweeney Todd somewhere - in the form of a reflection or shadow perhaps. But at the moment, thinking through drawing is how my ideas are developing and changing.

Character Ideas

I thought it might be helpful to draw different faces of what I imagine the main characters to look like. I drew Sweeney Todd although at this point I don't see myself using his actual face in the poster design. As at the moment I have Mrs Lovett in my mind to be the focal point of my image, I want her to draw your attention.

Faces from my summer sketchbook, just going through different ideas of a female character. My first drawings of Mrs Lovett I decided were too harsh looking. She is of course a sinister character, but in my mind also takes pride in her appearance. In other words I want to portray her as an attractive yet sly woman, in accordance with the fashions/style of the Victorian era.

Initial Roughs

When thinking about ideas around the story of Sweeney Todd, I was drawn to the character of Mrs Lovett. Generally, I prefer drawing women, I'm not too sure why this is and it is something I want to work on a bit more, however for this poster, I thought focusing on a character like Mrs Lovett would work nicely, especially as I knew I wanted the pies to be a focal point.

There were some other aspects that interested me initially, however a lot of these things (e.g. the window) I had to put to the side. I feel like I have too many ideas going around my head and it will be easier and more effective to focus on one in particular.

Independent Leeds Feature - Wild Gathering

The magazine is out and Independent Leeds were kind enough to send me a copy to my home address in Nottingham. I think this is my favourite editorial image I have done so far, I am very happy with the composition and overall message of sharing and preparing food in response to the theme of foraging.

Travelling Man Exhibition - Ideas

Initial Thoughts - Theme
When thinking of a British theme to work from I went through a lot of different options. I found it very difficult to come up with idea that sat within popular culture, because I didn't want it to be too obvious - although I am a fan of things like Harry Potter, Sherlock and Doctor Who. I feel like I have seen it all before.

Sweeney Todd - Demon Barber of Fleet Street

When thinking about British stories/etc I reminded myself of Sweeney Todd. Although the film is not completely British, the story and subject matter is - so I feel that is enough to go on for my poster. I am a huge fan of anything theatrical or musical so this is a good balance for me. 

I started off by listing things I may want to focus on in my work. Already, I am thinking about this in terms of character, as this is something I want to work on more within my practice. In terms of this, Mrs Lovett intrigued me as a starting point.