Using pen tool to create the illustrations
I built up a collection of images that I could use within my pattern that reflected Cara, to which colour could be applied.
I wanted to use a mix of both block colour and linear illustration so that the pattern wasn't too cluttered or busy. As it is going to be applied to a small bottle, I didn't want any of the illustration to become lost or unidentifiable. Although I had previously looked at some possible colour schemes during my research, these had to be developed in order to fit in with my illustrations, as well as reflect the individuals more effectively.
Pattern development
Cara Delevingne
Using my illustrations I began to build up a possible pattern. I made sure that the space that I was working in was the size of the template, therefore this would help me later on in the project when it came to putting the final products together.
As Cara was born in London, I decided to go with the iconic British theme, using blue, red and white. By using a white stroke, I was able to make sure my illustrations stood out against whatever colour background I used. I also used a mixture of solid block colour to break up the pattern and emphasise certain points.
Above you can see how the pattern began to develop. As I needed to repeat this pattern, I needed to make sure that some aspects would join up. This is why I added the 'love' decoration, which could then mix in with the repeat, making it much more cohesive.
Above is the final pattern I created for Cara. I am extremely happy with those turned out. It isn't too busy or cluttered and I feel the colours are extremely representative of her personality and style. The colours also really reflect the objects used within the artwork.
Using pen tool to create the illustrations
Applying colour to some of the illustrations
Pattern development
I decided to use red as the main background colour as I feel it is extremely reflective of Lana. Although you could associate her style with soft, pastel shades, she regularly references her 'little red dress' in a number of her songs. I therefore felt that this was the more appropriate route to go down. Examples of this can be seen below.
Carmen - Put your red dress on, put your lipstick on, sing your song, song, now the camera's on
Summertime Sadness - I got my red dress on tonight, dancing in the dark in the pale moonlight
Off to the Races - Slipping on my red dress, putting on my make up, glass room, perfume, cognac, lilac fumes, says it feels like heaven to him
In exactly the same style, I began to build up a pattern using my chosen objects. Sometimes it was quite difficult to layer them properly as certain objects has more detail than others. It also got easily cluttered due to the mix of colour and linear illustration. It was simply a case of moving objects around often, bringing new ones in and seeing where they best fit.
Again, you can see from the above pattern that I have used certain aspects to link the two repeats together. However, there is quite a large empty space in the middle of the pattern which needs to be filled. If it isn't, then when applied to the product, this may look out of place.
I started to experiment with how I could fill us the empty space, by using dashed lines in a curved pattern. This seemed to be a simple and effective way of filling it up. However, something was definitely still missing.
I decided to experiment with adding a singular heart onto the end of the curved line. I felt however, that the space still looked quite sparse and needed something extra to make it more cohesive.
When more hearts were added, and the line was changed slightly, it looked a lot less forced, and like it was all part of the pattern itself. This was much more effective than the above attempts, and I feel that works better as I have allowed the hearts to travel into the above pattern, making it appear as a whole.
Using the pen tool to create the illustrations
Applying colour to some of the illustrations
Pattern development
For one reason or another, I really struggled with this pattern. I wanted to reflect Florence Welch using colours that she wore quite often, taking inspiration from photographs of her at festivals. However, on screen, the colours looked quite dull, and not very exciting. Although I wasn't initially happy with the colour scheme, I decided to persevere with it as I felt that it really did reflect Florence's appearance and style. In a similar way to the previous two scents, I began to build up the pattern. You can see above how I had a range of different illustrations hanging around so that I could easily swap and change things about.
Building up the pattern further by adding in more objects. This pattern looks too spaced out, and everything looks kind of separate. The jacket doesn't look part of the design, and therefore needs to altered.
Above, you can see how everything has been brought much closer together so that it works as one. I have also experimented with the use of type within this pattern.
After careful consideration, I feel that using type isn't the right road to go down. In terms of the pattern being applied to an existing brand, I don't feel that it would make sense to include a band name. Although I want it to reference the individual, I don't want it to literally reference them.
As I wasn't fully happy with the colour to begin with, I started to experiment with other possibilities. I feel that by adding the cooler blue shade, the overall aesthetics aren't as dull as they previously were. Objects have also been moved around, and others added to create something that isn't as cluttered. The previous had too much going on, and all the objects were too close together.
Although the changes above aren't extreme, or too visible, certain objects have been moved around, specifically in terms of their positioning. For example, the shoes have been arranged behind the jacket, so that the lines overlap and lay on top.
After further experimentation, the colour scheme of this template changed dramatically. After considering the festival vibe more than Florence herself, I decided to go with something that was a little bit fresher and funkier. This teal shade is much more vibrant and a lot more fun, which is reflective of the theme.
Using pen tool to create the illustrations
Applying colour to some of the illustrations
Pattern development
The Kate Middleton bottle was the pattern I was least looking forward to creating, mainly because I felt like I didn't really have any sort of connection to this individual. However, I wanted to make sure that my scents appealed to a wide ranging audience. I started off in the same way as usual, however, even at the beginning I struggled to fit everything together. I didn't want to relate it too much to royalty, yet I found it quite difficult to find a lot of items that related to Kate.
As you can see from the above pattern, the process was quite slow, and I wasn't enjoying it as much as the previous. However, I persevered and began to get into the swing of things eventually.
Once my pattern was fully developed, I was actually rather pleased with the results. I felt that it reflected Kate Middleton well, without being too "princessy" or referencing royalty too much. I managed to create the right balance between it being playful as well as including items that related. One thing I wasn't content with, however, was the colour scheme. It was rather dull, and the light blue shade was horrid.
I experimted with seeing how the pattern looked when switching the colours around, however, this was ten times worse than the original. This colour scheme was scrapped immediately.
In order to find shades of blue that really reflected Kate, I went back to my research, and picked out a couple of images where she was wearing blue clothing. I then used the eye dropped tool to select some colours, which directly linked to her style. This allowed me to come up with this final colour pairing.
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