As a group all outputs were finalised and the logbook format was completed.
15th March
A mock up of the app was created.
Below are the pages created by Katie and myself that were to be kept in sync with the brand handwriting and the additional pages that Allana, Lauren and Emily were creating.
14th March
Throughout the group meeting on the 14th March, Allana, Lauren and Emily continued finalising the 'Leave the frame behind' film while Katie and I created mock-ups of the snapchat filters to incorporate into the Alex Mullin's app.
3rd March
Favourite images from the shoot were selected from the printed contact sheets.
Below are a few of the images chosen by myself.
1st March
Photoshoot location: Wellington House, Pollard Street, Manchester.
Time: 6pm - 9pm
28th February
The 28th February was spent visiting the Artzu gallery and the People's History Museum in Manchester with Allana and Emily. Subsequent to the gallery visits, we set out to street cast models from around the Northern Quarter area of Manchester in preparation for the upcoming photo shoot. Unfortunately the street casting was unsuccessful, however we secured models for the photoshoot through online advertisements.
The Artzu gallery contained a number of Carl Melegari's art work which focused on mixed media portraits. The portraits can be seen in the images below. The portraits had predominately distorted facial features, which linked closely to the theme of identity that was to run throughout the Alex Mullin's project.
After visiting the Artzu gallery, we next visited the People's History Museum in Spinningfields, Manchester. The museum contained a lot of traditional portraits and gave inspiration on the composition and execution of a good portrait. Below are a couple of images taken at the museum.
24th February
Roles for the upcoming photoshoot were made, my role being the shoot make up artist.
Contemporary make up artists have been researched prior to the shoot for inspiration. The two main make up artists identified were Tom Pecheux and Mark Carrasquillo. Both artists create natural and fresh complex with very little eye make up. As a key theme within the Alex Mullins Spring/Summer 2016 was genderless fashion, the make up for the shoot will be a minimal, fresh and dewy complexion with little to no eye make up on female models.
22nd February
After feedback from the formative assessment, the focus was drawn upon traditional contact sheets. The Alex Mullins Spring/Summer 2016 collection draws focus onto identity and portraits - which originate in the form of a contact sheet. When looking at portraits, Bates (2009) describes the portrait as an 'art of description', that ultimately fixes an individuals identity.
19th February
Formative assessment submitted.
1st February
The group meeting focused on discussing the target consumer along with research into current events and exhibitions in the North West to conduct primary research.
Exhibitions and galleries selected to visit:
- Artzu Gallery in Manchester
- People's History Museum in Manchester
29th January
Within the group meeting on 25th January, the group decided to select Alex Mullins as the designer for the project. Mood boards were created to identify key themes and concepts within the Spring/Summer 2016 collection which was showcased at London Fashion Week.
The themes identified within my mood board:
- Deconstruction
- Identity
- Genderless fashion
25th January
The group individually researched designers to potentially use in the upcoming project.
Designer researched: MSGM, Menswear
Season: Spring/Summer 2016
Showcased: Milan Fashion Week
Key concepts:
- Deconstruction
- Artisan prints
- Colour clashing
18th January
Within the group we discussed the Belbin team roles and took the Belbin test to identify our roles.
My first result: shaper
Characteristics
Highly strung, outgoing, dynamic.
Shapers are highly motivated people with a lot of nervous energy and a great need for achievement. Often they seem to be aggressive extroverts with strong drive. Shapers like to challenge, to lead and to push others into action - and to win. If obstacles arise, they will find a way round - but can be headstrong and emotional in response to any form of disappointment or frustration. Shapers can handle and even thrive on confrontation.
Function
Shapers generally make good managers because they generate action and thrive on pressure. They are excellent at sparking life into a team and are very useful in groups where political complications are apt to slow things down. Shapers are inclined to rise above problems of this kind and forge ahead regardless. They like making necessary changes and do not mind taking unpopular decisions. As the name implies, they try to impose some shape and pattern on group discussion or activities. They are probably the most effective members of a team in guaranteeing positive action.
Strengths
Drive and a readiness to challenge inertia, ineffectiveness, complacency or self-deception.
Allowable Weaknesses
Prone to provocation, irritation and impatience, and a tendency to offend others.
My second result: Co-ordinator
Characteristics
Calm, self-confident, controlled.
The distinguishing feature of Coordinators is their ability to cause others to work to shared goals. Mature, trusting and confident, they delegate readily. In interpersonal relations they are quick to spot individual talents and to use them to pursue group objectives. While Coordinators are not necessarily the cleverest members of a team, they have a broad and worldly outlook and generally command respect.
Function
Coordinators are useful people to have in charge of a team with diverse skills and personal
characteristics. They perform better in dealing with colleagues of near or equal rank than in directing junior subordinates. Their motto might well be "consultation with control" and they usually believe in tackling problems calmly. In some organisations, Coordinators are inclined to clash with Shapers due to their contrasting management styles.
Strengths
Welcome all potential contributors on their merits and without prejudice, but without ever losing sight of the main objective.
