Ironically, I consider myself an optimist about commercial work. In every order, I see development for myself, be it unobtrusive decorative arts or 3D visualization of other people's ideas.
In this case, I had the opportunity to work with rowdy (in a good way) brand - it was necessary to create a print clothes with existing visual motifs.
To begin with, I collected a bunch of trendy pictures, which, in my opinion, continue the tone of the client's previous collection. And as a challenge, I chose to depict the now popular composition in the form of a carpet-scheme.
General mood board:
Selected type of space:
In this work, I decided to try the method of inventing from the spot, which I was just taught then. This decision was of course made on the basis that I had no idea how to deal with the chosen type of space.
Somehow I turned abstractions into figurative with retro-techno elements.
To be honest, I can no longer remember what the graph was about, which I decided to add to the left corner - something spatiotemporal. Well, in general, that's what it is and the marginality inherent in the current. Well, a detail of the Sims interface sunk into my soul and was just created for this collage. By the way, I also didn't play The Sims - I had virtual puppies.
Oddly enough, the client liked the sketches.
After 4 months, the customer reappeared to continue the work. I already understand that I am ashamed of this sketch and cannot create a model from it. I decide to fix the dude.
First, just in case, I reviewed Léon Bakst. It seemed to me that he would give an answer to my dissatisfaction with the sketch. And I was not mistaken - this is what he gave me this time:
1. Attention to the silhouette of the figure, including the counterform, without losing the lines of dynamics.
2. Clothes are part of the form. It's all one big spot that is still part of a rectangular sheet.
3. The complexity of the style of clothing is not important. In this case, the style must obey the lines.
4. Think over the plasticity of even non-plastic elements.
When I need to draw something so daring, youthful, but realistic, the first thing I go to look at the Vetements collections (because my knowledge of fashion is very poor).
As always, I probably spent the most time on font selection. I had to look at posters of this kind in order to somehow get my bearings.
The Sims panel and blue scale led me to a Gothic Terminator ensemble. But it turned out too serious. And the Brush Script font, which we all have for a long time, has become a breath of fresh air. It instantly turned the print into Miami Beach. It also came in handy as it fit into the brand's ironic aesthetic. I understand how fonts should be combined and deliberately disregarding the combination was difficult for me, but it was possible nevertheless.
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