LESLEY BARNES / GO FIGURE / POSTER


LESLEY BARNES / GO FIGURE

I like the idea that fashion starts off as a sketch by the designer, before becoming a physical garment, and for me, fashion illustration takes this process full circle interpreting the clothes back to an image. The fabrics, patterns and colours are what I want to explore rather than the figure. I use a wide variety of material to create my work from fabric, paper, photographs…all to try and capture the essence of the clothes I am illustrating (the figures in my work really just act as a foil to display the clothes).
My ultimate ‘fashion illustration’ project would be to explore someone’s life/narrative through their clothes: to catelogue the queen’s wardrobe (especially her hats) over her Jubilee year, for example, or perhaps the wardrobe of someone like Iris Apfel or the jewels of Elizabeth Taylor. I think that clothes in themselves can tell a fascinating story.

Poster design by Slashstroke Magazine as part of the G0 Figure  publication that accompanies the show.

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ARTAKSINIYA / GO FIGURE / POSTURE

ARTAKSINIYA / GO FIGURE

I think we all try to  express our inner world by different means. It`s a matter of disposition.  I show my entity by drawing. I love it because it helps to incarnate bodiless ideas swarming in my head into something palpable.  I draw until my eyes tell me to stop. You  know this feeling, when you look at the picture and nothing annoys you. It`s an inexplicable thing for me, since I could turn angry looking at the picture and then draw something to restore  the balance. Some pictures come out very simple,  some pictures become more sophisticated. So if I use the space right, I could develop concept widely. If I had a mistake, it fated to stay simple.
My head is always full of ideas and I’m forced to draw them as fast as possible for the sake of a quite sleep… I am a person of impulse when it comes to work, I never nurture ideas, dawdling with details or something.  And I’m devilishly critical against my works, I’m never satisfied. But I give them (or I should say “myself”) just one chance, never return to improve something. That`s why I hate retrospectives…
 One part of me is inclined to draw languishing modernist portraits (with all those flowers, snakes and unhealthy looking persons) but the other one is very  enthusiastic (as you can see from the-dose) about quick and funny pictures.
The same thing with projects, I just can’t decide what I love most. I’ve been drawing avidly for the first vinyl release at Peripheral Records (which is 18 cm x 18 cm) and was pretty comfortable with drawing 4 meters long dragon for Lane Crawford main window.
So, no matter what scale and what purpose, I love doing my thing to make people a tad happier. I sounds like a crazy idealist, no? But that`s me, and I need a project to use lots of energy (I still have lots), which finally will bring me total satisfaction at least for a short while

Poster design by Slashstroke Magazine as part of the G0 Figure  publication that accompanies the show.

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INGELA OCH VI / GO FIGURE / POSTER

INGELA OCH VI / GO FIGURE

Em and Peter : We can’t see any restrictions on how we can use our style. Today it’s more a question of time pressure, cost and space as it requires a studio. There are combinations that mix materials, craftsmanship and building set design. Then we create a feeling/mood in the photography.  What we find interesting about working in this way is that we do not completely control the elements. It is constructed in 3D and then there is the lighting, the mood can totally change depending on how you use the light. We are consciously distorting perspective, even if we work mostly in miniature, it  still requires a large area to create the right image and mood, some sets can be up to 3 metres in depth.

Poster design by Slashstroke Magazine as part of the G0 Figure  publication that accompanies the show.

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ROSIE MCGUINNESS / GO FIGURE / POSTER

ROSIE MCGUINNESS / GO FIGURE

I can sit at my desk surrounded by books, magazines and research, and work through a brief from beginning to end – illustrating the designs, the collections, the people and styles that I admire so much. Illustration for me is a hugely satisfying creative process, something to concentrate on with instant results.
Drawing by hand, the quality and strength of line is important to me – as is an overall balance to the page – posture and pose need to be correct and grounded, which can take a number of drafts. I have tried tracing over images to alter or correct a line or angle – but I almost always find that the initial free drawn line or mark is best, the most expressive, and that this quality can not be falsified or recreated exactly.
Poster design by Slashstroke Magazine as part of the G0 Figure  publication that accompanies the show.

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CRISTIAN GROSSI / GO FIGURE / POSTER

CRISTIAN GROSSI / GO FIGURE

My work is kitsch and I like that it is a little insecure, for me illustration is the right combination of spontaneity and dedication. I drew a lot at High School, especially during History lessons, I think because of the Etruscans, now I’m happy they were so boring. I used to read manga art books and copy the figures, especially the female nudes which I drew by request on the diary’s of my classmates.

Someone told me a great illustrator should have his own style, very recognisable, I don’t care so much for this theory, I try to explore something new each time I get a job however small a thing it is.

There is an interesting conflict between art and craft. It’s the thing I like in this work, the absolute non-logical but rigorous technique behind it. You must know and understand all the rules to destroy them in the creative process. I think in my field, when you obtain total abstraction whilst maintaining the communication impact, this is a kind of poetry. The abstraction is to make metaphors with the lines and colours. In semiotics, the medium is the message, in Illustration the first medium is not the paper or the pencil but the illustrator himself.

Poster design by Slashstroke Magazine as part of the G0 Figure  publication that accompanies the show.

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HANNA MUELLER / POSTER / GO FIGURE

HANNA MUELLER / GO FIGURE

The beauty in it is to leave the real world outside my bubble of creativity. For once I’m completely relaxed and have the patience  to process my feelings and impressions. When I started using aquarelle, no one showed me how to use them, which I think shows in my art. I use an extremely tiny amount of water and I have to paint it in many, many layers and it takes a very long time but I like the process.

I get inspired by almost everything around me but nothing inspires me as much as humans do. I love trying to capture their facial expressions, it’s almost an addiction to me.

Poster design by Slashstroke Magazine as part of the G0 Figure  publication that accompanies the show.

Filed under:DESIGN, FASHION, ILLUSTRATION, NEWS by admin | Social tagging: > > > > > >
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