Bespoke tailoring portfolio

Thomas Elliott Lecturer Bespoke Tailoring Portfolio

1 / The impact of mark making Crossing out is not the same as deleting, while the “undo� option on the edit menu removes text without leaving a trace, the strikethrough effect involve readers, solicits their opinion, and engages in a dialogue with them.

Calvin Klein, M/M Paris, 2014

M/Mink, M/M Paris, April 2002

M/Mink, M/M Paris, April 2002

Vogue Paris, M/M Paris, April 2002

No Ghost Just a Shell, M/M Paris, 2000

2 / Typography: talking through type As designers we need to understand that our choice of font has the power subconsciously to set the tone for a piece of printed material; as a result we must consider whether the font we choice is appropriate, yet not shy away from innovation.

SAINT LAURENT PA R I S

The Gentlewomen, Spring Summer 2010, front Cover and spreads

Art director Dr Mehemed Fehmy Agha introduced Futura and did away with all capital letters in headlines. The result was at once jarring and elegant, with both lower and upper case “M�s.

Mm Vanity Fair, December 1931, contents page

3 / The value of hierarchies in text A viewer of any printed matter will rarely read it, they skim they scan they leaf and peruse.

A combination of factors may be responsible for this: unwieldy size of pages, the amount of information on them or simply lack of time.

Prepare for this.

4 / Illustration: Communicating your style Your illustration style will be one of the most defining facets of your portfolio and 2D work.

Take the time to develop your approach and constantly practice.

5 / The theatrics of scale Scale is a designer’s best friend. The ability to make an element big or small, fat or thin, vertical or horizontal is the key to making vigorous designs in any format or medium.

Armin Hofmann,1957

Armin Hofmann,1958

4th Estate Catalogue, Frost Design, 1997

6 / The use of narrative If when you construct a page you can make the viewer feel more feel more intelligent.

You should aim to initiate a quickening in the brain as the scope of the information laid before them begins to connect together.

Ways of Seeing, John Berger, 1972

7 / The power of juxtaposition Context can be as important as content. We can sometimes reveal more about an image by viewing in relation to another

Les AmĂŠricains, Robert Frank, published by Robert Delpire, 1958

8 / Subverting the grid To some the constructed universe is reassuring; to others it is slightly oppressive.

The desire to subvert a formal grid when laying out imagery can be seen as an attempt to restore a sense of spontaneity to what might otherwise be a didactic predictable exercise.

Piquedame, film poster, Jan Tschichold, 1927

Die Hose, film poster, Jan Tschichold, 1927

Die Frau Ohne Namen, film poster, Jan Tschichold, 1927

9 / Never forget the details.

When ascertaining the difference between a runway garment and the high street knock off of the details and finish are often the revealing tell, the same principal applies to your visual presentation.

Book 5: The Northern Fells, Alfred Wainwright, 1962