June 2021

JUNE 2021

 
 

INTERVIEW WITH MADE FOR MONDAY

BY DEVON HARVEY 

@madeformonday

 

What was your biggest inspiration behind Made for Monday? From both a business and aesthetic perspective?

One of my biggest motivations behind Made For Monday was the desire to be my own boss. I went to school for Graphic Design, had some jobs in the field and most recently had a job where I was a slave to the train schedule, waking up by 530AM and returning home around 830PM on a regular workday. It was exhausting and completely drained me of my creativity and personal time, so in January of 2020 I quit to take a gamble on myself. I initially planned to work as a freelance illustrator and designer, (which I still do today, I'm just a lot better about managing my time and projects now!), but always knew I wanted to have my own small business in a creative field. Made For Monday was launched in August of that year and it's been an amazing experience so far!


Aesthetically, the work I do comes from a love of colour! One of my favourite steps in my creative process is choosing a colour palette and refining it until it feels right for the piece I'm beginning. When I was in my last job, I wore a lot of black and gravitated toward neutrals. Now, a year and a half after leaving that position, I realized that a lot of my colour decisions then came from being unhappy, stressed out and tired. The colour I put into my work is not only an expression of emotion, but I am hoping it will evoke that same kind of happiness for its future owner. I like the idea of my work bringing light and cheer into someone's space.

 

Why did you decide to go into Home Decor?

Home decor became the main focus for Made For Monday because I liked that tufting could be implemented into a lot of different elements for your home. I started with wall tapestries and moved into mirrors which is what I am creating most of the time now. I LOVE doing the mirrors, and I especially love when people request custom colour palettes. It is so much fun to work with each individual client to get their personal aesthetic just right and make them something unique for their walls. Every single mirror I make is 100% unique, I only use a stencil for the general shape and size of the mirror, everything else is created on the spot and changes every time.

 

Out of all of your products, do you have a favourite? 

The Rainbow Wave Mirror is what brought a lot of attention to my Instagram in the first place, and I am so unbelievably thankful for that. What started off as an experiment turned out to be my most asked for product, which is great because they're so much fun to make and I love the rainbow colour palette! It is so bright and happy, and I love that people want a piece of that in their homes.

 

Finally, if there was one lesson that you have learnt from creating and running Made for Monday, that you could pass on to our readers, what would it be? 

Don't stop pursuing your passion! Before landing on what I am doing today, I tried a lot of things, had a lot of creative hobbies, and was always trying to find something I loved doing that could also earn me a living. While I still work my freelance jobs in the mornings, I have slowly started prioritizing my business and myself, hoping to take a step back from outside work all together in the future. Something will eventually stick, and when you find your passion, don't give up on it because it will all pay off some day!

 

MELLIFERA PAPER

@mellifera_paper


My name is Mel and I am an illustrator based in Somerset, UK where I live with  husband, kids and pets. I love looking through children's books and am inspired by the English countryside. I have a habit of putting cute food on faces and enjoy drawing digitally in Procreate and traditionally with ink and watercolour.  My website is www.melliferapaper.com and my instagram is mellifera_paper. 

 
 

BOOK REVIEW

BY KATHY BALDOCK

@on_my_bookshelf_

kathy.jpg

PUNCHING THE AIR BY IBI ZOBOI AND YUSEF SALAAM

June 28, 2021

The story that I thought
was my life
didn’t start on the day
I was born

Amal Shahid has always been an artist and a poet. But even in a diverse art school, he’s seen as disruptive and unmotivated by a biased system. Then one fateful night, an altercation in a gentrifying neighbourhood escalates into tragedy. “Boys just being boys” turns out to be true only when those boys are white.

The story that I think
will be my life
starts today

Suddenly, at just sixteen years old, Amal’s bright future is upended: he is convicted of a crime he didn’t commit and sent to prison. Despair and rage almost sink him until he turns to the refuge of his words, his art. This never should have been his story. But can he change it?


Punching the air is a novel that is written in verse, I am also not sure how I can put into words exactly how this book made me feel. I feel like this book has just up and kicked me in the stomach and left me winded. Amal is like any other ordinary boy except he is accused and wrongfully convicted by a system that believes being black is a crime. Amal uses his poetry and his Art to express himself and guides you on his journey as a reader. Amal helps us picture his world by putting us readers in his shoes and the injustice, cruelty and discrimination are way too much to bear.

‘Locking you up isn’t enough.

for them        They will try

to crush your spirit until

you’re nothing but—

Dust

we both say together

And what does dust do, Amal?

What did Maya Angelou say about dust?

Umi asks

It rises, I whisper’

I do not want to go into this novel in too much detail because its quite a quick read and I want you all to come to your own conclusions. What I will say however is I would recommend this book highly as something I think everyone should read. This is also so relevant to the life we live day in and day out. This is not the first book I have read in verse, but I have to say that books in verse are fast becoming my favourite to read so don’t let it put you off.  

 

EMELIE

Hi, I’m Emelie and I’m an Illustrator based in Gothenburg, Sweden. I create colourful drawings and patterns that are mostly inspired by nature. My style is whimsical and playful, and I’m always trying to have fun with my designs so that they put people in a good mood. 


I’ve always been doodling things like flowers and leaves but never really made something out of my drawings until about two years ago, when I discovered surface design while studying at RMIT University in Melbourne, Australia. Right now, I work full time in the fashion industry, but I’m hoping to be able to work at least part time in illustration and pattern design in the near future! 


You can see more of my art on Instagram @byemeliep, and you can buy some of my art prints etc. at Society6 where I’m also byemeliep.

 
 

 ENTERTAINMENT SNIPPET: 5 FILMS & SHOWS TO WATCH IN JULY

BY HARRY MEMBREY 

@anygoodblog

The cinema’s been back in (almost) full swing for a while now. There are far fewer screenings, far fewer films, but plenty to keep you satisfied everywhere you look. 


But just because the cinemas have opened their doors doesn’t stop streaming services from rising far above it. Blockbusters you’d typically look forward to seeing exclusively in the cinema have now become commonplace simultaneously on streaming services alongside their own array of exclusive content. 


No distributor has streamlined this strategy better than Disney. Cruella, Raya and The Last Dragon and Nomadland have all been available on their online platform as well as cinemas around the world. Astonishingly, even Disney Pixar’s latest offering, Luca, was exclusively available online. Not even the visual splendor of (perhaps) Pixar’s most striking animation to date could convince Disney to distribute it cinematically. Add the exclusive content Disney+ has recently offered such as Loki (as predictably lacklustre as it is) and it’s clear that Disney are finding a winning formula.


But it’s definitely not just Disney+ that are offering all the goods these days. So, what’s there to look out for next month and where can you find it? Well, here are 5 must-sees for July, and there's a variety of places you can find them.

ANOTHER ROUND: 2ND JULY - CINEMAS

Funnily enough, we actually already recommended this one back in January. But, like a fair few things these days, it got delayed. But on 2nd July it’ll be available in an Odeon or Cineworld near you (probably a streaming service too).


It’s a weird one though, you can actually buy the DVD for this comedy-drama about four high school teachers who consume alcohol on a daily basis on Amazon at a price of £30. You can even watch it in a select few independent cinemas in the UK already. But if you want to just casually head over to your local Vue and check it out, 2nd July is your best bet.


Why watch it? Well, it looks funny, has a proven cast and the song in the trailer is catchy.

FEAR STREET TRILOGY: 2ND-16TH JULY - NETFLIX

Fear Street is Netflix’s attempt at a “Streaming Event” where, across the course of three weeks, a new film within a trilogy will be released to reveal more about the history of an ongoing small-town horror story.


The first is called Fear Street: 1994, the second is Fear Street: 1978 and it all culminates in the final instalment, Fear Street: 1666. As we can see the trilogy is told backwards in chronology, probably enlightening more information surrounding an historic horror as it goes.


Based on the book series of the same name by R. L. Stine, the trilogy seems stylistically akin to that of IT and Gremlins spliced together, where a group of teenagers find out that they might be next in line to terrifying events all connected to each other in their town of Shadyside, Ohio.


It could be genuinely frightening, it could not. Hopefully it’s got at least something intriguing on offer from an entire trilogy. 

OLD: 23RD JULY - CINEMAS

In July, from the twisted mind of M. Niight Shyamalan comes Old, a new thriller about a family on a tropical holiday who discover that the secluded beach where they’re relaxing for a few hours is somehow causing them to age rapidly, reducing their entire lives into a single day. 


If that warped and mysterious logline isn’t enough to get you motivated to see the next movie from The Sixth Sense and Unbreakable director then I don’t know what is. The director, famed for films full of warped unusual narratives full of suspense and intrigue, has described it as being “like nothing else” so I’m sure you’re in for something particularly creepy and, of course thrilling, here.

BLACK WIDOW: 7TH JULY - CINEMAS

It seems that every month Disney or Marvel have something new to offer and none of it has really fit the bill up to now. Is this their last chance? Well, yes really, and Black Widow could just save them. Or could prove that Endgame really was the end.


Black widow is a prequel within the MCU starring Scarlett Johansson as the (now dead) Black Widow. Why watch it? Because it’s got a pretty impeccable cast. Rachel Weisz, Florence Pugh, David Harbour and Ray Winstone are all joining Johansson in this story about the mysterious Black Widow’s years as a Soviet assassin.


Of course, it’ll be available on Disney+ simultaneously at a price of around £20 so there’s no pressure leaving the comfort of home to explore this one. It would be good to see something genuinely original from this, but let’s not get our hopes up.

THE SUICIDE SQUAD: 30TH JULY - CINEMAS

And finally, from the “horribly beautiful mind” of Guardians of the Galaxy director James Gunn is THE Suicide Squad - not to be confused with 2016’s disaster Suicide Squad co-starring Jared Leto. It’s a reboot of that movie with a bigger vision, a bigger scale and a bigger director (probably a bigger budget too). 


The villain is a giant starfish, there are some of the wackiest looking villains you can ever imagine here, there’s a big cast, there’s a big director attached and it looks as though it wants to do something new that we’ve never seen before. That’s something that you don’t see too much of from big blockbusters right now and for that it makes the list.


Yes, looks can be deceiving. Yes, some of the humour seems a bit questionable. But it looks genuinely fun and won’t take itself very seriously at all. So why not?

 

SONNY EVANS

 
 

FORGOTTEN

BY MOHAMMED OMER SHABBIR

I cannot recall the last time I cried.

The thoughts of forgotten cries.

The empty sound inside.

Nothing to be found.

No help outside.


Beaten and broken all alone.

Without any reason to care.

Tears falling on the ground.

Mourning in isolation, by oneself.

Empty sorrows fill the day.


Barren distress pasts the days.

No time to pause, and pine.

Regret and respect to be neglected.

A broken-heart can cause much pain.

Ending only one way.


The end is near, may as well pour a drink.

Then carry on with the day.

Still no motive to resist.

Life always goes away.

The journey is never-ending.

 

ORNA

Orna was started by Meghan in 2020. She has always been print obsessed, having worked in fashion for over 12 years, but recently left her long standing career as a Senior Buyer not really knowing what to do, but struggling to balance a career, a commute and kids.

Her dreams of starting her own company with flexibility and creativity, led her to starting her business in nail art, however after a fun successful six months in business, she was made to stop appointments due to lockdown restrictions.

Meghan turned to hand painting home items with designs that were popular with her clients. She loved the way the hand painted items would allow her customers to add a playful element to their homes, sharing their personality at an accessible price point, in the same way they could with their nails.

She works from home in Leigh-on-Sea, Essex and continues to paint nails alongside candles.

 
 

INTERVIEW WITH ROUND ABOUT CERAMICS

BY DEVON HARVEY

@roundaboutceramics

 

What inspired you to go into ceramics? And what inspires your aesthetic?

I first used clay in secondary school where we were encouraged to try out many forms of media. I then went on to study Fine Art at Chelsea College of Art and Design, UAL and I dedicated my degree show to a project in ceramics. It’s in the blood as my grandma used to be a potter’s assistant and in late 2018, she helped me purchase my first wheel. Round About Ceramics took off from there! 


I take a lot of inspiration from interior design in the 60's and the art deco movement. I also look at nature, I love flowers and plants, the colours and shapes can be really beautiful. My aim is to make things that I love, which I hope comes across in the final product. 

 

Your cloud mugs are beautiful, would you say these are your most popular product? 

Thank you so much! Yes, these are definitely up there with being the most popular, they are one of the first to sell out during a shop restock. The cloud design was one of my first ideas when launching Round About Ceramics. I was quite nervous when announcing the new design on Instagram, but the response was very positive, and it received a lot of love.

 

What is the hardest thing about working in the ceramic business? And what is the most rewarding?

The hardest thing is that ceramics can be so unpredictable and unforgiving, pieces can explode or crack so sometimes opening the kiln can be quite underwhelming. The most rewarding is definitely seeing people using and enjoying something I’ve created.

 

Finally, if you could give your younger self one piece of advice (given what you know now), what would it be?

I'd tell myself that I need to be more patient and that getting something wrong is a good thing as you will learn from it. Ceramics is a lot of trial and error, so keep on going!

 

MARIAH BIRSAK

Mariah Birsak is an illustrator and painter from Amsterdam who works between the fields of art, illustration and graphic design. Her work always revolves around her interest in exotic cultures and unknown dreamscapes. Mixed with a playful aesthetic she creates vibrant and quirky worlds in which the viewer is invited to enjoy. Being a 90's kid, she tries to provoke a happy and nostalgic feeling with her art.

 
 

100,000 MINUTES 

BY ELIOT K. RAMAN JONES

June 28, 2021

Every year, sometime in early December, the Spotify Wrapped for that year is released. It’s a fairly new addition to Spotify’s collection and presentation of your user data, and the most marketed feature is assuredly the playlist it creates with the top 50 or so songs you played the most that year, with the most played song at the top and the 50th most at the bottom. People can normally reflect on the year as a whole based on the top ten, five or even number one track, depending on how often you listen to music and whether or not your taste in music shifts depending on your mood. For example, my 2016 Spotify Wrapped playlist (which I believe was the year the feature was released) was the year I left secondary school, and so features a great amount of party quote unquote “anthems”, with Call on Me by Eric Prydz in third, as well as Good Times by Chic and The Sound by The 1975 in the top 20. It also features a lot of Kanye West, as his album The Life of Pablo was released in February of that year, so the singles, as well as other tracks dominate the lower parts of the playlist. My first year of university saw me listen to a lot of funk music, which is borne out within the playlist, as is the highly-anticipated-but-ultimately-disappointing J Cole album KOD. 


The idea for these playlists is great, and the fact that the playlists exist years after they are released to you means you can document a sort of musical taste progression, or just memorialise your favourite tunes, encapsulated in the year you either first heard them or played them the most. However, my favourite part of Spotify Wrapped is not the playlists or hearing the songs I’d heard many times that year once more. I am much more enthralled by the second part of the breakdown – the number of minutes spent listening to Spotify in that year. 


I listen to music every day, with breaks for sleeping, some for working, and also when I’m out with friends or family. Music is so firmly a part of my daily life that I always make sure I leave the house with my headphones on, and I’m almost always seen in public with them either in my ears or around my neck when I need to hear what people are saying to me. While I know in terms of competitive value, either racing or competing with people for how many minutes of music they listen to in a year is too wide ranging in terms of time to keep track of while also being so niche in terms of subject matter to be considered interesting, this realisation has not deterred me from attempting to beat my previous year’s record as the years go on. 


For example, in 2017 I listened to around 30,000 minutes over the year. That’s about 21 days, rounding up, of nonstop music playing. Almost 3 weeks total, 0.06% of a calendar year and 0.0006% of a century. It’s definitely not bad, but I could do better. In a calendar year there are 525,600 minutes, and I’d listened to 5.70% of that. I hadn’t even cracked double digit percentages! Shameful. 


The next year I had decided on a goal ahead of time. I would attempt to crack 50,000 minutes. 2018 would be a good year as by the end I would double my listening time. 50,000 seemed big, but also doable. I was a fresher in 2017, so I spent a lot of time going out and meeting new people, so didn’t really have a lot of time to commit to pursuing my imaginary goal, completing the non-challenge I’d set myself. However, despite my best efforts, 2018’s dramatic escalation in terms of university difficulty meant that I finished the year on 49,288 minutes. Agonisingly close to 50k, but just edged out. I hardened my resolve, I had a year abroad on the horizon, which meant at least two long flights, as well as trips into Munich on trains and buses where headphones would become essential travelling partners. I was determined to bring on 2019 as soon as possible, so I could enjoy my year abroad and, as a positive by-product, better my record on Spotify. The improvement was massive, and by the end of 2019 I had racked up a whopping 86,747 minutes on Spotify. Achieving 79% more minutes than the previous year was staggering, and I had smashed the 50,000 goal I’d set myself, as well as the possible future goals of 75k and 85k. There’s no doubt in my mind that shift work as well as long hours in the office both were positive influences on my Spotify minutes, and also my frequent trips in and around the city of Munich exploring with my trusty headphones on. The number itself was crazy too – I’d listened to the equivalent of 60 days of nonstop music, or two months, or 0.2% of a calendar year, or even 0.0002% of a century. I knew I had to hit 100,000 minutes the next year – I’d eclipsed any other possible milestones too early and hitting triple digits would be the next best step to take. 


Unfortunately, another missed opportunity arrived, as in the most recent Wrapped, for 2020, I hit 95,271 minutes. To be only 5000 minutes off my goal was gutting, but it was still a marked improvement on my previous year. No doubt this was due to the ongoing coronavirus pandemic, and one of the consequences of being unable to leave the house is that I tended to listen to a lot more music. So, there it is - The thinnest silver lining of the worldwide global pandemic is that it more than likely propelled me to hitting my goal of 100,000 minutes. Of course, if that hypothesis is true, then when on December 3rd this year my next Wrapped comes out we should have easily cracked the triple-digit-milestone, and be well on our way to hitting four, five or even six digits of minutes. 


(Just kidding) 

 

IZZY FRY

My name is Izzy Fry; I am a young naturalist, amateur wildlife photographer and aspiring conservationist!

 
What I love to do the most, is inspire a love for the natural world in others! I try to do this by showing people how amazing our wildlife is through photographs, to teaching people about different species!


I also work to get people involved with helping with the environment and conservation.


It is no new news that our planet is in big trouble, and it is crucial that over the coming years we need everyone to get involved and protect it. We need to cherish ecosystems, allow them to thrive and regenerate every missing element that is lost or suffering.


To do this, we need to engage more people and encourage others to have a love for nature! But especially younger people and the next generation- and that is what I love doing the most! 


Getting young people involved, whether that’s teaching them about different species to taking them on nature walks, inspiring young people is what I love to do the most!

 
 

INTERVIEW WITH CLOUD VINCENT

BY DEVON HARVEY 

@cloudvincent_

WHAT MOTIVATED YOU TO START CREATING MUSIC? WHAT WAS YOUR INSPIRATION?

I started creating music a while back... I played in several bands and created some music with them. I started making my own solo music in 2018/2019 and eventually put out my first song at the end of 2019. I think music has always been a big part of my life, my parents played a lot of it growing up, I took piano and guitar lessons as a kid, and I was also in school choir. I never really felt like one thing or person inspired me to start making music, it was just something I always wanted to do, and so I did it.

WHY THE STAGE NAME ‘CLOUD VINCENT’?

Coming up with a name was a big task for me… I always felt like the name had to represent who I was, but at the same time, be its own creative personality. I added my first name in there to add some uniqueness and I really like clouds because I felt like they could represent something happy or sad. You get clouds on summer days, you get clouds on rainy days and I feel like that perfectly reflects the music I make. I liked how unique and to-the-point it was and I don’t think I could’ve picked a better name.

WHAT IS THE HARDEST THING ABOUT BE A MUSICIAN?

I think the hardest thing about being a musician is translating an idea in your head into an actual sound. I have great ideas for sounds and vibes but it always proves to be a challenge to get those ideas to actually manifest themselves properly. This is something I'm always working on improving, and my main producer "Bram" is great at helping me achieve this.

SO FAR, OUT OF ALL OF YOUR SINGLES, WHAT IS YOUR FAVOURITE ONE, OR IS IT IMPOSSIBLE TO PICK?

I think my favorite single is always the one that most recently comes out. When I listen to songs that are older, I always think about how things could be improved mainly because I feel like I'm learning so much about music creation every single day. My new single "TENNIS SKIRT" is definitely my favorite right now, and I think it will be until I make something that I like even more.

WHAT DOES THE FUTURE LOOK LIKE FOR YOUR MUSIC? SHOULD WE EXPECT BIG THINGS?

I've got so many songs lined up and can't wait to release them! Big things are coming for Cloud Vincent and I am going to continue my alt-pop sound in 2021, with bigger singles to come! I am looking to reach more people and show more people my music, and I would love to do a few features by the end of the year! BIG THINGS COMING, LISTEN TO CLOUD VINCENT BEFORE EVERYONE ELSE DID!

 

INTENT

BY PASTEL BLACK

@pastelblackpoetry

Hit me with your intent

Watch it throw me across the floor

The only goal you have in mind

Is how to hurt me more


Hit me with your intent

Good but misguided

I know you only want to help

But didn’t know our worlds had collided


Hit me with your intent

Educated and kind

You know just how to love me

Your purity hard to find

 

THIS NORTHERN GIRL A.K.A LAUREN CONROY

Hi! I'm Lauren, I'm 26 and I'm from a small town up north called Hartlepool. I started This Northern Girl in January of this year to give myself a creative outlet and I've loved every minute of it so far. I design and make customisable prints that bring a little life to any home. I'm excited to see what the future holds for This Northern Girl and I'm so grateful for the support I have received so far. Shout out to Snippets Magazine for featuring my work.

 
 

LETTER ON AMERICA NO.5

BY EMMETT SULLIVAN

‘A Totally Lying Experience’: 
America and the Search for the Perfect Image

 

‘DIGITAL IMAGES CAN’T BE TRUSTED’

Thus ran a Guardian headline in 2015 to an interview with Don McCullin – one of the most famous and respected photographers of the second half of the twentieth century.  The article also gives us the title of this essay, which was persistently scathing about how easily the digital medium could be manipulated.  If you proport to be a press photographer, or a photojournalist, then you are held to the highest standards – reportage has to be unaltered, an unquestioned record of the event you shot.  To fail to reach this standard, and to be found out, (almost) inevitably leads to dismissal.  That was the fate of Narciso Contreras in 2014.  The Associated Press ‘severed ties’ with Contreras for altering the photograph of a participant in the 2013 Syrian conflict.  Contreras, along with four other AP photographers, shared the 2013 Pulitzer Prize for breaking news photography for their work in the North African war.  The alteration was to ‘clone out’ a video camera in the background of the shot.  For that transgression, AP purged their catalogue of the 500 photographs by the freelancer.  Contreras has argued that he did not materially alter the composition of the photo, and he has gone on to provide photographs for other outlets, winning subsequent awards as well.  However, Roger Tooth argued the day after the New York-based news agency announced their decision that they had been right: if the image could not be relied upon as being ‘totally authentic’ the chain of trust between the photographer, the newspaper and reader is broken, casting doubt on any – and every – photograph published.  Digital or otherwise, the image can’t be trusted, in McCullin’s words; and every other image from that source is subject to doubt as a result.  We will come back to this point because, while Contreras was castigated for his ‘violation’ of AP’s ethical standards, not everyone suffers such a damning fate.

Photography under fire holds a special place in the standing of American press agencies; and McCullin, more than any single individual, brought the horrors of the Vietnam War to the homes of the American population with his depiction of the Battle of Hue in 1968.  His stark black and white images showed the distress the Second Vietnam War was bringing to the Vietnamese, and the Americans aiding the South Vietnamese and cemented his reputation worldwide.  McCullin’s distrust of digital photography might boil down to the lack of authenticity in the digital age: film photography produces a discrete historical artifact – the negative.  A 35mm frame, coated with an emulsion of silver chloride, captures the moment, and can be examined to measure the integrity of the prints which come from it.  It is those negatives which survived from the Stalin era which allowed David King to chronical the degree that the Soviet Union was subject to the ‘airbrushing’ of the historical record.

This standard of integrity is, however, only expected of one type of photography – reportage, by the press photographer or photojournalist, as noted, and in news stories alone.  This distinction is important.  There is now a general acceptance of the ‘99%-rule’ amongst the public – that the vast majority of all published photographs have been ‘retouched’ – to the degree that from 2017 a French law required a ‘health warning’ on commercial photos where models had been digitally ‘slimmed down’: they must say photographie retouchée.  Six months before, the Cannes film festival released its official poster with an altered image of the great Italian actor Claudia Cardinale, taken in 1959: the poster image showed Cardinale with a waist at least one dress size less than the original.  Cardinale did not object herself; and while others did, the French director Jean-Paul Salome summed up the general attitude thus: "[w]hat is this ridiculous outcry over the Cannes poster? All photos used for advertising are retouched in one way or another."  

There is a common acceptance – but not approval – of this situation.  This extends to entertainment, with Kate Winslet asking that her ‘bulgy bit of belly’ not be edited out of a intermate scene in Craig Zobel’s Mare of Easttown, a critical hit for HBO: Winslet’s response to Zobel’s offer to use a ‘more flattering’ edit was reported as a simple ‘don’t you dare’.  When it comes to print images, however, Winslet has fallen victim to being repeatedly ‘digitally altered’ – most famously when the UK edition of GQ ‘slimmed’ Winslet’s image to fit more with their reader’s tastes.  Winslet complained, but acknowledged that once the photoshoot was over, what was printed was out of her hands.  When Vogue in 2013 also had Winslet as their cover star, Lauren Leibowitz commented ‘we only wish Vogue had allowed her true character to shine through its airbrush tool.  It doesn’t matter, it would appear, how fine a performer you are: your image will be altered to meet the expectations of a magazine’s target audience.

NATALYA SMITH

Hey! I'm Natalya, I'm an Illustration student based in the north west. I work using all kinds of mediums from gouache to embroidery but more recently I have been improving my skills with and really loving making digital artworks.

 
 

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