Final Illustration Sketchwork

In investigating the original street style image, some sketches were created to get a better feel of the image and the lines and forms that could be created, more in the style of the author than in either Barbier or Gruau. As presented through the interviews, the author wanted to experiment to help create a better work, and try to avoid forcing a predetermined idea.

Barbier and the new detail of Street Style: Final

The author sees the final interpretation of Barbier’s work as very successful. As previously stated within the earlier stages of the blog, detailed hand work does not come naturally to the author. The process of focusing on individual aspects of an image have given the author a far greater appreciation and ability to create something that has more prowess than previously thought could be achieved. The colour palette used within the image has helped to further the authors understanding of what colours can create a successful image, using this selection of stark contrasting colours has not offered a clashing image, but yet a period inspired and softer image than to be expected.

Barbier and the new detail of street style

The final Barbier interpretation was created using a street style image and aspects of two of Barbier’s own images. The flowers were traced by ink using a light box from an original Barbier. With the window and wall work coming from a separate piece of work. As a male figure stood in front of the window, in Photoshop more of the wall and window were created as not to break the authenticity of style. Coloured layers were added using the watercolour technique described earlier in the blog. A chequered floor was added to create an interesting contrast to the period features of the walls and windows. The author wanted to tell a story of a woman who still dressed to impress, regardless of season or location. A figure who seen no difference between elegantly wrapped at home or elegantly wrapped for dinner. The face was added using a fine paintbrush on paper, which was added on a separate layer that was added via Photoshop.

Reference for original image

Georges Barbier style experiment: part 2

Reference for original Image

http://2.bp.blogspot.com/_CAe4xqG2hCU/TOVHPdwHH3I/AAAAAAAADF0/gr4I56ierdg/s1600/Barbier3.jpeg

 

Georges Barbier style experiment

 

Reference for original image

http://3.bp.blogspot.com/-xqV_I9DgtXs/T3IyThcqHUI/AAAAAAAADx4/HL08U_Bu7bQ/s1600/George_Barbier_Laissez_Moi_Seule_941_35.jpg

Fireworks Barbier Digital interpretation

 

Reference for original image

http://www.artchive.com/web_gallery/reproductions//104001-104500/104288/size1.jpg

 

Fireworks with Georges

To further deconstruct Bariber’s work the author looked at a singular image and tried to deconstruct the figures both by hand drawn watercolour and by digital. The images above include the original hand painted elements, and the digital layers added, including the colouring used to form the garments and skin.

George barbier, the beginning of understanding his figures

 

Reference to original image

http://3.bp.blogspot.com/-xqV_I9DgtXs/T3IyThcqHUI/AAAAAAAADx4/HL08U_Bu7bQ/s1600/George_Barbier_Laissez_Moi_Seule_941_35.jpg

 

Barbier i’m taking your lead

The first attempt at drawing detail was a difficult one, I chose to illustrate a graphic scarf. The intricate pattern was difficult to follow through the folds created in the fabric. As a beginners step to drawing detail, it allowed a chance to investigate the aspect of illustration that I find most restrictive.

Georges Barbier

Georges Barbier 1922

The detail and lightness of touch included in the work by Barbier set a standard for modern illustration. He formed an opulence through soft marks that instantly draws the viewer into his world of detail.

Gary Alston, writing on House of Retro.com (2013) considers Georges Barbier as one of the key and influential figures within the art deco movement. Citing him as one of the most influential artists and fashion illustrators to emerge from in post World War 1 France. Tara Maginnis comments in an undergraduate paper hosted on Costumes.org (2010) that little is known about Barbier, when compared to more contemporary fashion illustrators however this does not take away from the validity seen in his work. Alston (2013), offers that Barbier was born in Nantes in 1882. He studied at the Ecole des beaux-Arts, tutored by Jean Paul Laurens. It is suggested that Barbier was a flamboyant man which furthered his interest in working designing theatre and ballet costumes. His catalogue of work includes costumes, jewellery, glass, wallpaper and fabrics. Barbier has been noted as a member of the elite circle of the 1920s nicknamed “The Knights of the Bracelet” by Vogue magazine. Barbier is revered for his work illustrating haute couture.
Maginnis (2010) argues that Barbier’s career began by necessity. He was charged with being the principal illustrator for two new magazines focusing on Parisian Fashion. Journal des Dames et des Modes, is considered by Maginnis as the pillar in establishing Barbier as a fashion illustrator, as his illustrations were not the visual interpretation of a couturiers garments, but instead his own designs. Journal des Dames et des Modes is stated as a
“luxury magazine for an exclusive clientele; only 1279 copies of each issue were printed. The magazine appeared three times a month The text part of each number filled eight pages and consisted of belles lettres – aphorisms, fashionable poetry, fashion notes and the like – written by pillars of tout Paris…Anatole France, Jean Cocteau and the Comtesse de Noailles. In addition, each issue was accompanied by from one to five unbound colored fashion plates” Dover Publications (1982)

Alston (2013) states that Barbier’s career was varied and included working as a talented journalist and illustrator for La Gazette du Bon Ton, published between 1912 and 1925, and La Vie Parisienne. Barbier is considered a pioneer at this time for his use of stencils or “pochoirs” in order to publish his colour-plates.
Alston (2013) comments that Barbier designed costumes and sets for iconic costume designer Erte, including work for the 1924 film “Monsieur Beaucaire”, in which Rudolp Valentino stared. The New York times gave Barbier a extraordinary review
“magnificent… such spectacular costumes and set design have never been seen before.”
Barbier continued to develop his career journey by producing advertising artwork for Cartier, Renault and Elizabeth Arden. Upon his death aged fifty in 1932, his collection of works were auctioned at the Hotel Drouot in Paris. Alston (2013) observes that Barbier’s talent drifted into obscurity until the exhibition George Barbier, The Birth of Art Deco was held in 2008 at the Fortuny Museum in Venice. Alston (2013) adds that ironically during an article published in 1923 in La Gazette du Bon Ton, Barbier stated
“Venice is a city that is both absurd and enchanting. She reminds me of a small case covered with shells, a music box with her sounds, like the insides of a guitar, overflowing with the songs of birds that soar up from the windows, their languid voices quivering and singing over the canals,”
Therefore a very fitting tribute to exhibit his work in a city he admired.

Maginnis (2010) observes that Barbier’s work could owe its outlines to the style of Aubrey Beardsley and colourings to Leon Baskt. Maginnis (2010) comments that some illustrations of couturier gowns often looked dull or lack lustre due to the colouring of the gown, often leading to a more attractive background that garment. Maginnis states that Barbier worked to ensure the garment had as much impact as the background.

The breadth of Barbier’s talent can be seen in images of his theatre costume designs held by the University of Georgia’s Hargrett library in the rare book and manuscript library. The collection of Paris Music hall illustrations how a much more free and comfortable style.

Reference for original image

http://2.bp.blogspot.com/_CAe4xqG2hCU/TOVHPdwHH3I/AAAAAAAADF0/gr4I56ierdg/s1600/Barbier3.jpeg

http://www.libs.uga.edu/hargrett/selections/paris/barbier1072.html