The brief asked to communicate a story or information about a collection of my choice, I chose the Mary Quant Make Up Collection from the University archives. Most of the cosmetics collection was from the 1960s, at the height of Quants popularity, I decided to celebrate this by designing a 50 year anniversary exhibition to showcase the collection.
The concept was to immerse the viewer in Mary Quants designs by having them travel through a scaled up make up bag, with large scale models of the cosmetics inside, I created illustrations of the collection to arrange on to posters and leaflets as part of the exhibition proposal.
In an effort to add more materials and processes to my illustrative portfolio, I've experimented with some embroidery. I feel this medium is already closely linked to my illustrations on paper, as I like to explore texture and detail.
The brief called to design an object communicating the story of Edgar Allen Poe's The Pit and the Pendulum. After reading and analysing the story, I noticed Poe focused a lot on how fear had effected the protagonist physically, he was described as "sick unto death", experiencing "inexplicable weakness" and "deadly nausea".
In response to this I designed a series of antique medical packaging, inspired by the miracle cures and elixirs of Poe's time. I referenced excerpts from the book throughout the packaging, from the slogan ("feeling sick unto death?") to the list of symptoms, to the name of the pharmaceutical company. I also noted the expiry date as the date that Poe died.
Ongoing illustrative portrait series.
The brief asked to design a series of posters for four plays by Samuel Beckett (Krapp's Last Tape, Waiting For Godot, Endgame and Happy Days) as part of a fictional Samuel Beckett Season at the Royal Court Theatre.
The process of designing the posters required constant experimentation and iteration, I tried a multitude of materials for creating type, from food, to projections, to three dimensional paper cut outs, as well as coded systems to put the type through such as BSL and braille. My final posters combined a few of my more successful experiments; distorting the type by arranging it in to a braille grid system (which I initially explored because of the blind characters in Endgame) and photographing textures that were reminiscent of the mood of each play. I wanted to communicated Beckett's absurd and modern writing style visually.