Fashion Constructed Image Brief 2014

8/13/2019 Fashion Constructed Image Brief 2014

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fashion: constructed imageBA(hons) Photography, Contemporary Practice

2014 Stage 1 - Terms 2 & 3 Unit RPHC4004

Begin without a camera: cut out a window in a piece of card. Look,discover, choose what you are going to photograph

A B ; , , -

Photography:Tim Walker,British VogueMarch 2009


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fashion: constructed image2014 Stage 1 - Terms 2 & 3 Unit RPHC4004Location: RochesterLevel & Credit Level I, 30 CreditsDuration Weeks. 17Learning hours 150 hoursTutors: Jonathan Simms

INTRODUCTIONIn truth, fashion photography has earned itself a varied and misunderstoodreputation. At its most commercially intense, narratives are reduced to arelentless and ubiquitous mass-marketing mirror held up to the consumer.It may (without apology) be a shallow but beautiful pursuit, justi ed by itsown sublime end. Equally at its most entertaining and inspiring, fashionphotography may be pure inspirational narrative and fantastical story telling.Its theatre is writ large upon the pages of venerable fashion journals suchas Vogue, Harpers Bazaar and more recently the culturally challenging Tank,Dazed and Confused and W Magazine.

The genre can blur the boundaries of art and scultpure. It envelopesportraiture, mimicking and satirising the secular canons of celebrity. It canspeak of the mundane and domestic whilst engaging with the epic and

fantastic: regardless, the narrative is a wholly invented arti ce placing andstaging the gures into fabricated contexts and environments. Elaboratesets, cohesive styling, sympathetic casting and evocative lighting designs allhelp to heighten our emotional responses to the predetermined narratives.

Unlike reportage and much art photography (disciplines which are moreoften lone pursuits) fashion shoots are collaborative offers generated with arange of interelated art directors, creative artists, set builders, hair & makeupand fashion stylists. The project therefore asks you to demonstrate aneffective and re ective approach to project management: independently,collaboratively and as a member of a wider team of sourced talent.

The successful fashion photographer needs to have the ability to movecomfortably between all of these creative disciplines.

Working in teams, you are asked to create a series of constructedfashion images in the studio.

The main aim of the project is to encourage you to analyse the nature ofphotography and to increase your understanding of the way in which youand others create and construct meaning using the photographic medium.

The project also aims to develop an appreciation of the importance ofresearch, testing, pre-production and conceptual development prior to aphotographic shoot.

The level of Professional Practice will dictate the success of your project and will be an indicative part of the assessment process.

UNIT CONTENTThis unit encourages students to speculativelyexplore the cultural and visual contexts forfashion photography. The unit considersfashion as a territory that is in uenced bycultural ideas and genres of representation.

The relationship between genre, narrative andaudience are introduced as students workingin groups use a cultural idea and an aestheticsource of inspiration as the foundation fromwhich to engagement with fashion narratives.

Students are challenged to navigate this clash

between cultural ideas and cultural references.Drawn from engagements, outside the subjectarea of fashion, this unit challenges studentsto investigate di erent reference points,such as social and political contexts, and thecinematic, for example. Students will develop acoherent narrative as a conceptual responseto a brief that is based upon cultural research,analysis of fashion narratives, characterisation,and aesthetic speculation and judgement.

The project will involve investigating andinterrogating the collaborative world of fashion.It will cover key disciplines such as shootproduction, creative direction, casting, setdesign, propping, styling, hair and make-up.

Following previous units, the unit methodologyrequires students to establish genre,characterisation, mise-en-scene, lighting,scale, relationships, movement, angles of view,gesture, action, set and special e ects fromwhich the fashion image will be selected.

This creative approach requires students toconceive of the fashion image as developedfrom clearly identi ed sources of inspiration.

The constructed fashion image relies uponstrong imaginative abilities, consistent artdirection and understanding of culturalmontage.

Photography:Nick KnightVisionaire


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UNIT AIMS A1 To provide a critical and creative understanding of the

fashion image: encouraging you to analyse the nature of photography and increase your understanding of ways to perceive and then construct meaning.

A2 To develop an awareness and understanding of genre andnarrative: considering visual language and semiotics (ask if youdont understand!) in story telling.

A3 To develop a creative and e ective working methodologythat enables the generation and de nition of projectconcepts : critically appreciate fashion photography in terms of

historical, cultural, social, economic, political and technologicalcontexts - leading to the exploration of your own narratives.

A4 To develop the ability to visualise your ideas as images

and control all aspects of their construction to realise yourintentions.

A5 To develop the ability to project-manage: helping you tounderstand the holistic view of creating images through critical path

planning, organisation, team management, execution of shoots and post production.

LEARNING OUTCOMESLO1 A growing critical understanding of the fashion imageLO2 The ability to use research and analytical skills to support

speculative approaches to the characterisation and mise en sceneof fashion

LO3 A growing knowledge, and understanding of the of visual languageLO4 Ability to control the photographic medium in order to successfully

realise your ideas as images.LO5 Developing project management skills.

INDICATIVE TECHNICAL CONTENT Shoot Production Workshops Set Design & Concept-Boarding workshops Lighting & Exposure Workshops Camera Format (Digital/RAW) Digital Production

TEACHING AND LEARNING METHODS the unit is supported by: Project supervision Lectures Seminars Tutorials Practical classes & workshops Workshops



ASSESSMENT REQUIREMENT Assessable Components WeightingConcept development/Research/ Production folder/Creative Project 100%

ASSESSMENT CRITERIA On completion of this unit you will have produced evidence of: Knowledge of applied knowledge and understanding of fashion

narratives (such as genre and narrative) Understanding through application of analytical skil ls and research

in support of project progression An understanding of how visual concepts can be realised through

the use of appropriate photographic techniques.

Technical and applied skills through: Appropriate projectmanagement: planning and organisation

Technical and applied skills through: E ective application of technical skills to realise visual objectives

(set build, styling, lighting, shooting and post-production)


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TASK (A) - Group TaskIn order to fully understand the complexities of the task undertaken byartists, we must deconstruct each individual element used to create theillusion. Camera control, lighting design and the nuance of performanceall have to be carefully considered and understood. Atmosphere is a keyelement in creating emotive imagery. From the Reading List, research, analyse and deconstruct what you

consider to be an iconic fashion series and give careful considerationto what makes it such. Your image may be historical or contemporary.

The team should take into account all the elements making up thenarrative within this singular frame: the characterisation of the sitteror model, the garments & costume worn, the setting and context,the style of hair and make-up, the use and meaning of props and thelighting and photographic techniques employed.

If the series is implicity commercial, account for the in uence andimportance of the market place upon the above factors.

Note the groups ndings in a sketch book / blog and have a Powerpointavailable for discussion when we next meet.

Task deadline; Friday 31st January. Please present a PowerPointfor the meeting.


2014 Stage - 1 Terms 2 & 3 Unit RPHC4004

Photography: Corrine Day: British Vogue

Photography: Mario Testino


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Photography (top left/bottom right): Philippe Halsman, David LaChapelle, Annie Leibovitz, Norman Parkinson, Annie Leibovitz, Guy Bourdin, Irving Penn


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TASK (B) - Individual TaskCharacterisation is perhaps the key to great image making since it canwholly de ne the subject and context.

Street casting and portraiture is as much cultural documentary as fashionreportage. We ask you to carry out a simple street casting and returnwith an image of a chosen character or model. This person may be knownto you or a stranger encoutered in public. They may be conventionallybeautiful or their appearance and character may rest outside of what themainstream media my consider the norm. Whatever the reason for yourchoice, they must inspire you in some manner, whether by the the way theystand, dress or behave. In creating your image you must consider not onlythe characterisation, but also costume and context of the sitter. Be preparedto verbally account for your choice.

In casting for a speci c fashion shoot further practical considerations exist.Will the model move well or do they seem self- conscious or awkward?Can they inhabit the required role and take directions? Finally (and perhapsrather obviously) do they t the clothes?

Street casting has become widespread (and somewhat ubiquitous) onlineand in print. See the following we bsites for inspiration:http://facehunter.blogspot.com/ http://www.thesartorialist.com/

Note your experiences in your sketch book / journal and have a printed hardcopy of your nal casting image available for discussion when we next meet.

Task deadline; Friday 31st January. Please print your image on an A4 sheet of paper and pin it on the wall before the meeting.



From; Go-Sees: Girls Knocking on My Door by Jergen Teller

From; Face Hunter by Yvan Rodic
http://facehunter.blogspot.com/http://facehunter.blogspot.com/http://facehunter.blogspot.com/http://facehunter.blogspot.com/http://facehunter.blogspot.com/


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TASK (C) - Group Task You are asked to assign roles for each team member, giving carefulconsideration to individual skill-sets within your group and the abilities eachindividual brings to the task. Your team will need a broad spectrum of skillsfrom negotiation and organisation to practical construction and lighting. Allteam members should contribute to all aspects of the task, however due tothe complexities of the project we require you to assign lead role(s) to eachmember of your group: shoot co-ordinator lighting lead building lead budget controller props master casting lead camera master

health & safety representative post-production lead

Think carefully when assigning roles; play to the strengths within your teamand consider how some tasks may overlap or con ict, especially during theshoot production. It will also be helpful if your team members share a similartaste in genres and styles.

Task deadline; Friday 31st January. Please present roles &responsibilities to JS

Photography: Mert Alas & Marcus Piggott. Model: Naomi Campbell


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PART ONE: THE CONCEPT DEVELOPMENTWorking in teams, you are asked to construct a series of fashionphotographs which responds to the materiality and design languageon the project presented to you by the fashion designer.

The photographic series, should consist of 6 editorial shotsconstructed in the studio. The images must be generated undercontrolled studio conditions. Collaborate with your team and pre-visualize aseries that looks at portraiture, still-life and the space created.

In order to facilitate creative exchange and dialogue within your team andde ne a reference document to pass on to external collaborators andtutors, respond to your thematic by constructing visual concepts or moodboards. This process should enable you to begin the visual mapping

process of your concept and establish the understanding and signi canceof your submission. When interogating your subject you must thoroughlycritique associated contemporary cultural references. Develop a concept

in terms of historical, cultural, social, economic, political and technologicalcontexts. Re ne and distill your concept into a series.

At the rst group tutorial you are asked to present your initial concept onThursday 6th February (Room 712)

PART TWO: PRE-PRODUCTION - TEST SHOOTING / PRESENTATION / PITCH - H&S APPROVED

The key to a successful production is to carefully plan and set yourselfinterim stages, which must be timetabled for each team member. Be awarethat casting and nding props will take longer than you expect. Likewiseexternal collaborators must be sourced where needed, briefed and informedof your schedules.

Key tasks are detailed below. Post these to your Online Production Diary asyou complete them.

De ne individual roles within the team. When working on large projectsassigning roles and responsibilities within a team is essential.

Cast your models and characters Source the required costume, clothing or styling. You may take this

task yourself or may choose to commission and collaborate with an

external fashion designer or stylist. (Network with students from theBA(Hons) Fashion Promotions course)

Consider further skills you may require on set, such as hair and make-up, set-build assistance and even catering should you and your teambelieve it necessay for your shoot production.

Further research and re ne your concept. Always consider how thecasting, styling and set building effect your constructed narrative.

You will be required to present, pitch and discuss your planning andconcepts during tutorials at key stages throughout the project.

The creation of a photographic set and props taxes your ability to achievemaximum illusion. Obtaining materials, planning ahead and organising yourteam will demand a high level of professional skill. Negotiation, mediation,delegation and decision making all need to be undertaken with the clearrespect of each individual both within the direct photographic team and thewider creative collaborators.

INTERIM CRIT: PRESENTATION DELIVERABLES:

Once you have agreed your fashion series, you must; create a visual concept exactly as you plan to photograph it create a proposed oor plan with dimensions (metric cm/m) 3D Model, both virtual (using SketchUp) and a Scaled Foamboard

Model. Ensure you photograph the model for your PowerPoint. create a proposed lighting plan include position, source and details of

their qualities produce detailed drawings of any scenic elements you plan to

construct complete a props list including sourcing information create a production schedule / critical path for your team highlighting

key dates and deadlines than affect your project produce a budget plan, detailing the breakdown of expected costs for

all elements of the production

PART THREE: STUDIO BUILD & POST PRODUCTIONSHEDULE OF THE WEEK During the studio production weeks, teams will work at the same timeacross two studios. Each team will have ve days in the studio:Monday - Scenic Build

Tuesday - Pre-light & Scenic BuildWednesday - Scenic Design & Propping

Thursday - ShootFriday - Strike Set & Post- Production Meeting

HEALTH AND SAFETY As part of the overall project, important Health & Safety factors will be taken into account and assessed. During each of the workshops the health andsafety concerns of studio setbuilding will be discussed. In advance of the

build weeks each team will be required to complete a Risk Assessment oftheir production. In addition to this, during the build week each team will besubject to a Health & Safety spot-checks.


2014 Stage 1 - Terms 2 & 3 - Unit RPHC4004

Photography: David LaChapelle


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DELIVERABLES AT FINAL DEADLINE

PRODUCTION BLOGWhilst you will be working in a team, your personal Blog will again be thevehicle for collating evidence of your research, organisational processand overall engagement. Each team member must maintain a new blogcategory, eg. Fashion: Production Management, for their posts.Use the Blog to keep a record of your work within the team.Every member must post at each stage of the productionTherefore the Unit Blog must contain the following, but

highlight the personal lead responsibility : Concept / Storyboards / Optics Characterisation and Casting Studio mockups & Setbuild Propping & Scenic Design Lighting Design & Exposure Risk Management & Budget Shoot Production & Communications

Teamwork & Professionalism

REVIEW CRITIQUE The nished project will be assessed both individually, using your ownBlog and as a Group in the form of a presentation. Students are askedagain to produce a Critical Appraisal. Through Peer Review and Self-evaluation, students establish those points of the assignment that havebeen most successful and consider any points that you feel need to beaddressed should you repeat the project.

DELIVERABLES: FINAL DEADLINE A fully labelled CDR/DVDR & Proof-print must be delivered toJohn Sullivan/Bjrn Veno, in the Digital Lab on the following dates:FRIDAY 2 ND MAY (3.30pm) Grps: 1,2,3THURSDAY 8 TH MAY (3.30pm) Grps: 4

For assessment the nal submissions must be retouched digital PSD les. These will be used to produce a large format Gicle printsFor reference we require you also submit the original RAW digital les fromthe camera (the CR2 le). It is important that work is undertaken in a fullycolour-manged environment. Using the colour calibrated Eizo monitorswiould be recommended. Do not use a laptop.

The following image les have to be submitted: Minimum of 3 x (landscape format) images or a maximum of 6 x(portrait format) images. All images: Final retouched images to be supplied as layered/

un attened PSD 1 x InDesign le with either a minimum of 3 x double-page spreadsor a maximum of 6 x single page images. A combination ofdouble-page and single pages can be used. A4 Proof-Prints - Indication exact colour and density, includeDigital Test-Strips. (Paper surface: Satin) The untouched camera RAW les (.FFF / 3F le) JPEG, Final Retouched image, 6Mb. JPEGs low-resoultion, 1Mb, folder of all images.

Photoshop advisory settings: Colourspace: Adobe 1998Format: PSD (un attened) - Mode: RGB 8bit - Resolution: 300ppi,

EXAMPLE SPREAD

Photography: Javier Vallonrat, Stylist: Lucida Chambers, British Vogue, 2013

EXAMPLE FLATPLAN

Use the supplied InDesign le, shooting for either a minimum of 3 imagesusing double-page spreads or a maximum of 6 images images using single

page images. A combination of double-page and single pages can be used.

Think very carefully about your editorial choice. Consider whether is itrepetitive? Can you use juxtaposition to emphasise a particular narrative.What is rationale behind the number of images you have used?

MATERIALSFor the production week each team will be provided with 6 wooden ats(4 of which need to be returned in a usable state for the next weeksproduction). There will also be tool-box available on extended loan beforethe studio production starts. We strongly suggest you pre-build as much ofyour scene as possible.



Photography: Miles Aldridge, Evening Dress Code, Italian Vogue, April 2011


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PROJECT SCHEDULEWeek 16 Project Brie ng & Networking Monday 27th January Production Meeting: Roles & Responsibilities Tuesday 28th January Mood-Board Development & Group Presentations Friday 31stJanuary

Week 17 Lecture: A Question of Beauty Monday 3rd February Lecture: fashion Styling & Awareness (Olivia Pomp) Tuesday 4thFebruaryWorkshop: Fashion Styling Tuesday 4th February Concept Development Tutorials (Grp.1,2,3,4) Thursday 6th February Pre-Production Meetings (Grp.1,2,3,4) : Research & Mood-Board

Develoment (Student-led) Thursday 6th February

Week 18 Workshop: (Grp.1,2) Scenic Design - Basic Principles & Risk

Assessment Tuesday 11th February Workshop: (Grp.1,2) Digital Capture: Intro. Shooting Tethered withLightroom (Subject as Focal Point) Tuesday 11th February Wednesday 12th February - Production Team Meetings (Student led) Friday 14th February - (Grp.1,2) Photoshop Composite Workshop Friday 14th February - (Grp.1,2) Retouching Surfaces & SkinWorkshop Workshop: (Grp.3,4) Scenic Design - Basic Principles & Risk

Assessment Friday 14th February Workshop: (Grp.3,4) Digital Capture: Intro. Shooting Tethered withLightroom (Subject as Focal Point) Friday 14th February

Week 19Self-Study Week (Grp.1,2) Fashion Unit Test Shoot - Lighting and Set Mock-Up Wednesday 19th February - Student-led (see iCal) (Grp.3,4) Fashion Unit Test Shoot - Lighting and Set Mock-Up Thursday 20th February - Student-led (see iCal)

Week 20

Fashion Unit Test Shoot: Grps to organize models & clothing. 10am (Grp.1,2) Fashion Styling & Casting Test Shoot Tuesday 25thFebruary 10am (Grp.3,4) Set Design: 3D Sketch-Up Model Workshop Tuesday25th February - Teams to bring foam-board scaled models 2pm (Grp.3,4) Fashion Styling & Casting Test Shoot Tuesday 25thFebruary 2pm (Grp.1,2) Set Design: 3D Sketch-Up Model Workshop Tuesday25th February - Teams to bring foam-board scaled models Pre-Production Meetings (Grp.1,2,3,4) : Research & Mood-BoardDeveloment (Student-led) Wednesday 26th February (Build list to becompiled with costings) Workshop: (Grp.1,2) Scenic Design - Textures & Surfaces Friday 28thFebruary Workshop: (Grp.3,4) Scenic Design - Textures & Surfaces Friday 28thFebruary

Week 21 Lecture: Fashion Stories Monday 3rd March (All Grps.) Part 2: Production Presentations: Crit & Formative

Assessment & Review (Jonathan Simms) Tuesday 4th March Pre-Production Meetings (Grps.1,2,3,4) : Research & Mood-BoardDeveloment (Student-led) Wednesday 5th March Friday 7th March - (All Grps) Deadline - Risk Assessment Forms: Emailto Colin Jackson Friday 7th March - (Grp.3,4) Photoshop Composite Workshop Friday 7th March - (Grp.3,4) Retouching Surfaces & Skin Workshop

Week 22 (Grps.1,2,3,4) Post-Production: Digital Consultancy: Checklist - Blog

post Digital Strategy - Monday 10th March - Bjorn Veno Fashion Unit Pre-Production Tutorials & Studio Mock-Up Tuesday11th March - (see iCal) - Jonathan Simms

Week 23Sign-Up: Pre-Production Review Tutorials. (Jonathan Simms) Tuesday 18th March - (see iCal)

Weeks 24, 25, 26 - Shoot Production Schedule:(please see iCal for speci cs) Monday 24th March - Friday 28th March - (Grp. 1) Monday 31st March - Friday 4th April - (Grps. 2,3) Monday 7th April - Friday 11th April - (Grp.4)

DEADLINESDigital Media Submission Deadline - Grps.1,2,3 3.30pm, Friday 2nd May

Digital Media Submission Deadline - Grp. 4 3.30pm, Thursday 8th May

Unit Assessment Presentation - Group Presentations 10am, Tuesday 13th May



Photography: Miles Aldridge, So Poetic, Italian Vogue, April 2006


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ESSENTIAL READING

Begleiter, M (2001) From word to image: storyboarding and the lmmaking

process, California: Michael Wiese Productions

Bright, S (2007) Face of Fashion, Aperture

Carter, G (2008) Vanity Fair: The Portraits, NPG

Campany, D (2008) Photography and Cinema, Reaktion Books

Cotton, C (2000) Imperfect Beauty: The Making of Contemporary Fashion

Photographs, London: V&A Publications

Cutler, R (2009) The September Issue (DVD)

De Beaupr, M (2002) Twenty Years of Fashion Photography: Archaeology

of Elegance, London: Thames & Hudson.

Golosorkhi, (2002) Tank: Best of Tank Magazine , London, Thames &

Hudson

Lehmann, U, (2002) Chic Clicks: Creativity and Commerce in

Contemporary Fashion Photography, Hatje CantzMcAssey, J / Buckley, C (2011) Basics Fashion Design 08: Styling,

Lausanne, AVA Academia

RECOMMENDED READING

Glebas, F (2009) Directing the story: professional storytelling and

storyboarding techniques for live action and animation , Focal Press

Klein, S (2007) Steven Klein. Stern Fotographie

Knight, N (2009) Nick Knight, Collins

LaChapelle, D (2003) Hotel LaChapelle, Bul nch

Leibovitz, A (2008) Annie Leibovitz at Work, Jonathan Cape

Lindbergh, P (1999) Peter Lindbergh: Selected Work 1996-1998

Maxwell, K (2007) Career Diary of a Fashion Stylis t: Thirty Days behind the

scenes with a Professional, Gareth Gardener Company

Newton, H (2006) Helmut Newton , Photo le, Thames & Hudson

Shrinkle, E (2008) Fashion as Photograph: Viewing and Reviewing Images

of Fashion, IB Tauris

Storaro, V (2011) Vittorio Storaro: Colours - Writing with Light,

Mondadori Electa

Talon, D.S (2007) Panel discussions: design in sequential art storytelling,

Talon, TwoMorrows Publishing Townsend, C (2002) Rapture: Arts Seduction by Fashion,

London: Thames & Hudson

Verthime, S (2010) Guy Bourdin: In Between, Steidl

Walker, T (2008) Tim Walker: Pictures, Te Neues

Technical: Digital Practice & Studio Lighting

Adobe (2011) Adobe Photoshop CS6 Classroom in a Book, Adobe Press

Box, H (1999) The Gaffers Handbook, Focal Press

Evening, M (2011) Adobe Photoshop CS6 for Photographers, Focal Press

Fraser, Schewe (2009) Real World Image Sharpeming, Peachpit

Schewe, Fraser (2010) Real World Camera RAW, Peachpit




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ONLINE RESEARCH & RESOURCES

Photographer & Stylist Agencies (References)www.mapltd.comwww.artandcommerce.comwww.art-dept.comwww.wefolk.comwww.smiletoo.comwww.streeters.com

Fashion Magazine & Blogs (References)www.125magazine.comwww.anothermag.comwww.dazeddigital.comwww.fantasticman.com

www.nowness.comwww.purple.frwww.sefservicemagazine.comwww.showstudio.comwww.tankmagazine.comwww.thegentlewoman.comwww.thelovemagazine.co.uk www.vogue.co.uk www.vogue.itwww.wmagazine.comwww.wonderlandmagazine.com

Fashion Designers

www.londoncollections.co.uk www.agiandsam.comwww.alexandremcqueen.comwww.astridanderson.comwww.chanel.comwww.comme-des-garcons.comwww.craig-green.comwww.helmutlang.comwww.j-w-anderson.comwww.prada.comwww.stellamccartney.comwww.yohjiyamamoto.co.jp

Lighting Rental www.cirrolight.comwww.directphotographic.com

Digital Asset Management Kasson, J, The Last Word,http://blog.kasson.com/?page_id=3060

ASMP, File Mangement, Naming, Storinghttp://dpbest ow.org/links/38

Scenic Design & Set Construction (References)www.shonaheath.comwww.andyknight.co.uk

www.tcsetbuild.comwww.themodelunit.co.uk www.scottpask.com

Propping & Scenic Supplierswww.thestudiostore.co.uk www.cosprop.co.uk/companywww.angels.uk.com

Managing & Organising Andreatta, B (2013) Delegating Tasks to your Team, www. lynda.comCrenshaw, D (2011) Leading Productive Meetings , www.lynda.com

Concepting & MoodboardsFrench, N (2014) Developing a Mood Board, www.lynda.com

Digital Post-Production

Sexton, T (2013) Photoshop Retouching Techniques: Fashion Editorialwww.lynda.comSexton, T (2013) Photoshop Retouching Techniques: Faces ,www.lynda.comSexton, T (2013) Photoshop Retouching: Skin, www.lynda.comSexton, T (2013) Photoshop Retouching: Hair, www.lynda.comBlatner, D (2012) InDesign CS6 Essential Training, www.lynda.com



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Fashion Constructed Image Brief 2014