This is my third post in regards to the Escada Born in Paradise project. I would recommend you head on over to the Escada tag over here ---> or headhere for the first post, here for the second prior to reading this one:)
After learning that I had successfully won the pitch for Escada life got pretty busy, so busy that I made the difficult decision to leave the job I loved at The Jacky Winter Group so I could keep up with the Parisian hours, work nights and then focus on other illustration clients during the day. Trying to maintain a full time job while working late nights had become too exhausting and I had to make the jump. From here the project stepped up a notch, the pitch phase was over and the work I was creating had to not only impress Grey Paris, but meet the client's strict requirements, legals and opinions. Luckily for me the team I was working with was very lovely and would be prompt with feedback knowing that there was only a small window where our time would cross while we were in our respective offices on opposite sides of the world.
I mentioned in my previous posts that there were a lot of things to consider when working across the project. Along with the physical aspect of creating the illustrations and keeping them true to brief I had to be very careful about getting the sizing of the image correct so that it could work across a variety of applications. First I was supplied with the measurements of the fragrance packaging 30ml, 50ml and 100ml and then I was supplied with a cross section of how the image could be divided up at any time (for magazines, billboards,P.O.S and web). The tricky part about this was that the image could look great as a whole, but when sliced to a magic section sometimes it just didn't work out - some spots looked a bit empty with no focus, sometimes things got cut awkwardly and lets face it there is nothing "paradise" about a parrot with his eye cut in half! No matter what the usage the image had to look good. Below are a couple of examples of the guides and some of the final shapes. The final image was also created with the Born In Paradise bottle replacing the girl, and with the girl wearing a green kaftan for Middle Eastern countries.
With the bottle as feature
Overdosed Fruity Floral" and "Summer Escapism" were some of the key phrases I was given, my sunset became a Pacific inspired blue, and my pinks less peach and more vibrant than anything that had appeared in my work previously. Throughout the job the fantastic Art Directors I worked with pushed me hard, and I think one of the greatest things about this project is how it has encouraged me to be bold with colour. Here are some of the recent works I have created that I can partially credit Escada for for my colour inspiration.
Holly Rose 2 2013
Not only did Born in Paradise inspire my personal work, but I also learnt a lot about my working processes and just how much I can get done if I knuckle down. Here are a few pointers that are helpful when working on a large scale project that may be interesting to those of you just starting out.
1. Never assume that the pitch file is only ever going to be one flat file - When I was pitching I drew a huge image that was around 2 metres wide, foolishly not considering that I may have been asked to move or adjust elements. This was a bit of a Rookie mistake, I hadn't done many images like this before so was new to it and I ended up spending a lot of time masking and rebuilding pieces. Always draw everything on a separate page/layer!
2. Never assume that the pitch file will only ever be a pitch file - The whole time I was pitching it was very fast and I had always thought that if I was to win I would have the chance to start again and redraw. In reality the final image has a huge amount of elements from the pitch file, no time to start fresh!
3. Save every revision (other than tiny ones) as a new file - This is something that I always do. When working on the large project with many eyes to impress you never know when you will need to revert back to an older version. You will thank yourself if you can just open an older file to step back. Be sure to name files in a way that will make them easy to find and keep in order.
4. Allow time for sending files. When you're working on a file over 2 metres wide (as this one was) it can take hours to send, make sure you consider this when planning your timeline.
5. Save, save, save! Crashing files at 2am make for many tears.