elle;

Since leaving this account, my work has moved to a new website and Instagram

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A short film with Raf Simons

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Moved to @elleduffey

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What lomography camera do you use? And do you use instant film (such a Polaroid) or film you have to develop? Also do you have by tips for first using it? I really want one, but I'm not sure which camera would be best to get.

I currently just use a Diana Mini camera with 35mm film which I just pay to get developed anywhere at the same price as a disposable - but you get way less successful shots (I’m sure you can get more out of it if you do the developing yourself though). I had a Holga before which was great but the medium format film just costs a load more. My only tip would be that it seems to work better with few close subjects, rather than like.. landscape shots 

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REINVENT: COTTON WOOL

A few slides from my presentation on my Reinvent project on cotton wool.

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Chalk, Adobe Illustrator project

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Receipts: You and Me

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2016 portfolio design trials

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cliff engravings 

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Praise & Post

In the spirit of Mail Art, and creating work for the simple pleasure of making it, I filled in a ‘Praise & Post’ postcard, addressed to ‘the most important teacher in my life’. The thought of influencing minds and feelings simply by communication through my work is the most exciting concept, even if it only reaches one person. Ah! It also feels nice to do something nice. 

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I’m a creature of comfort and habit. I’ve found it easy to contain my work within the confines of neat 0.8mm fine liner pen tips and 12pt serif fonts, but at this moment in time, all I want to do is create colourful mess. 

I want bright red, fast splashes and thick, messy brush strokes. I want it to be on the edge of interpretation. I want to test how far I can push it before it’s meaningless. 

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Underexposed

I got my first lomography camera when I was about 14 and instantly fell in love with the surreal colours and distortion. Over time, I’ve collected loads of under and overexposed shots which I’ve never really known what to do with. 

Because it was hard to understand the images, I wanted to give them their own narrative. All cut from one page in a single book, the snippets create a new understanding and interpretation. 

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Mail Art

Today, my eyes were awakened to the Mail Art movement that started in the 50s. The idea being, artists create work simply to send to someone else… who may or may not respond with their own. You get to rework, retouch, reconsider each item. You can send the same thing back. You can paint it red and send it to someone else. 

Nigel brought in a crazy amount of colourful, collected bits and bobs that looked beautiful as a collective and individually. Each item oozed arbitrary care and thought in the most exciting way, because the items existed simply to exist.

The anti-design; the knocked-up, hand-made, rough approach to design really really appeals to my love of contained chaos. I love this kind of thing. 

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deconstruction #2

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deconstruction #1

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23.04.16 | Deconstruction

My next project is focused around Adobe Illustrator. Although I’m not familiar with the software, I really enjoy and appreciate the process of illustration. As a preparation task, I chose to deconstruct an item (a micro USB cable) using a knife. 

The biggest thing I noticed when I challenged myself to illustrating in the past was the details. The thousands of intricate, seemingly unimportant details that make up the whole. The freckles, the placing of the features, the small hairs, the lighting; everything that makes up a singular face. In this, I aimed to take apart the object literally; to understand the structure underneath and dissect it physically, and not just imaginatively. In the same way you need to understand bone structure before you can master a face, I figured I would do the same with an object. 

I quite liked the aesthetic value of the whole thing. There’s something quite delicate and pretty about tiny uncovered wires, like veins. 

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16.03.16 | Barbican

Today, if not only for a change of scenery, I went to the Barbican centre again. The space itself is quite overwhelming. It’s clunky and dense and so not aesthetically pleasing that it somehow becomes it’s own endearing aesthetic. I appreciate the dulled hues and lack of saturation that encompass the whole centre, alongside the dark, sturdy bones of the building. The whole ‘feel’ of the place is similar to what I want for my zine. It’s enticingly strange and out of place. 

I documented parts that I found interesting and am trying to find ways of transferring and incorporating the design and aesthetic into zine form.