First Draft of DPS Text

Fresh and new on the art scene, Sammy Davis, a young and independent artist discusses the attention and interest sparked from her vintage nod to modern photography. 

“Art isn’t the same as it used to be,” sixteen-year-old artist Sammy Davis said wistfully as she sits comfortably on her cozy, paint-stained couch. She looked like she was both in and out of place in her own apartment - the vintage curtains of her living room matched her clothing, however it was the absence of wrinkles and a youthful disposition that made her stand out. 

When I had walked in the room earlier, she greeted me cheerily and invited me to sit. While she walked to her kitchen to brew some tea, I was able to get a glimpse of her latest photographs, lying on her working table. They were a vision of black and white. 

“When did you take these?” I asked.

“In the springtime,” she replied. “That was several months ago. I’ve been avoiding it because I just didn’t feel like it.” 

The pictures were reminiscent of 1970’s Parisian nostalgia - the essence it captured was beautiful, dark and mysterious. At the time, I was mildly shocked by her implied indifference towards the beauty of her work. But as the day progressed, I got to understand why. 

“So, let’s talk about yourself. You were a student - now a photographer. How did that come about?”

“I had just started sixth form back in London, and I wasn’t thrilled with the way my life was panning out. I was so engrossed in painting, but I wasn’t a natural painter. It was painful for me–to not excel at something you really love doing. Sooner or later, I turned to photography, and it’s been a creative outlet for me. It allowed me to achieve things visually that painting couldn’t. I’m not moving forward with any projects just yet–just waiting for inspiration.” 

I asked her about the influences behind her photos. She informed me about David Lynch, renowned film director and creator behind the 1986 neo-noir mystery Blue Velvet. “The shadows, the colour palette of the shots - I was inspired.” 

It was interesting to see Davis giving credit to Lynch for inspiration, considering the fact that her photos were arguably more nostalgic. I commented on its originality, and curiously inquired her about her decision to not do work. 

“Back in the day, around the time my grandparents were born, people made art whenever they got inspired. You always hear them say ‘inspiration’s for amateurs, artists get to work’ and I could understand that. I’m still in school, so I still have time to be flexible and have the idea find me, not the other way around. But I also think that it’s important to have a muse without forcing it–every photo idea of mine, from conception to realization I always saw it as a delicate thread. Trying to rush just felt very contrived for me. It’s not like I’m cutting edge with my work or anything, but I think I am bringing something our generation hasn’t seen.” 

“You are one of the youngest artists to date–every local museum wants to work with you. What do you feel about that?”

She smiled. “Very humbled.”

I pressed for more, and she explains, “it really is an honour to sort of represent the young artists. I always thought I was going to be alienated by the art community due to my age - but I realise that there are many other artists like me who are struggling to be taken seriously. To breakthrough gives me hope because it’s about time a young artist is recognised as a creator of art, not of some Key Stage 3 crafts project. Because even though I’m not a painter, I am an artist."

Davis’ photos are now part of a current photography exhibition in the Paris Museum of Modern Art. 

Contents Page Progress #2

I decided to add an editor's note, to which I think was a good idea as the design looks more balanced. I believe that this would be the final contents page. 

I experimented with the duplicates, and added the front cover which followed the typical conventions of a contents page. The hand is reaching towards the cover, but it might look a little too comical and would not suit the vibe of the magazine. Due to the nature of the bodies on the pictures, I think text wrap would be the only appropriate way to place the layout of the text. 

Front Cover Progress #2

Art magazines typically have little to no sell lines, so this is my attempt at including sell lines but still making it appropriate for my audience. This makes sure that the audience knows that it's not a poster. 

I reversed the color gradient to visually balance the cover. 

I moved the masthead downward to fill in the large red space, also to make the sell lines more visible. I also included the issue number. I think this might be my final front cover, with minor tweakings. 

Front Cover Progress #1

Despite the survey results saying that I should avoid sell lines, I experimented with it nonetheless. I also added the anchorage text. 

This is an unfinished attempt, mainly because I did not like the font for the sell lines at all. 

I incorporated the color gradient for the masthead like mock-up #4. I also changed up the font for the sell lines, making it look tidier and more professional.

This is my best attempt at weaving sell lines and the anchorage text as well as a puff into the front cover. I think this does look better, however I don't like the way the puff and the clutter makes the magazine look cheaper than it should.

Survey Results on Contents Page

I did not include the fourth question because it's too redundant.

Survey Results on Front Cover

For both the surveys, I had received the answer I desired. My audience felt that they can tell the magazine is meant for artists and art lovers. They had said yes to every yes/no question. The background colour is the feature that stands out the most for all the mock-ups, so I'm going to keep it. Almost all unanimously voted that #10 was the best front cover.