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The website is called newspaper club. I did order one of their free samples which is yet to arrive. Which made my choice even more certain that I couldn’t move forward with this company.

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Rose McGuinness is one of my favourite illustrators. I think I have referenced her in all of my projects her use of pattern bold breast strokes, texture, colour the simplicity of her sketches all incorporated For a interesting and captivating illustration.

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Old White Horse, 20 Peckham Rye, Camberwell SE15

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Old White Horse, 20 Peckham Rye, Camberwell SE15

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This was the first workshop of unit 8 run by Jheni Arboine. This has been my favourite workshop of the year. It felt really personal and allowed us as a class to learn more about each other. It was a great listening exercise which will come in good use when I want to conduct a interview.

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'The Friday Walk'

Man in the Woods

In 2018 I began my Friday Walk, which has become the ongoing research that informs my work.

'One Friday, I left home and walked 18km out into the countryside, had a pint of ale at a village pub and got the bus home.

'The following Friday I took the bus back to that pub and carried on walking.

'Every week since then (when there's not a pandemic on) I've taken a bus or train (or both) to where my previous walk ended, and continued my journey around the English countryside.

'It's not about visiting beauty spots, conquering peaks, or hiking long trails, but walking: gently moving through fields and woods, along footpaths and green lanes that are hundreds, often thousands, of years old; slowly getting to know the land around me, and embedding myself in the landscape.'

https://www.maninthewoods.co.uk/about

Psychogeograpny

Associated with:

The urban / the city.

A non-scientific idea of time and space

'Phenomenology'

The horizontal and the vertical

Narrative and literature, writing

Wandering, drifting, aimless, being lost

The 'flâneur', the dérive

Visual, film, sketching, reportage

Terminology

Palimpsest /palimpsest/ noun

1 a parchment or other surface on which writing has been applied over earlier writing which has been erased.

2 something reused or altered but still bearing visible trace of its earlier form: the house is a palimpsest of the taste of successive owners.

- ORIGIN from Greek palin 'again' + psestos 'rubbed smooth'.

http://www.askoxford.com

Terminology

The flâneur - a walker or wanderer, through an urban environment (associated with Walter Benjamin)

The Dérive - a drift through the city - a planned activity
(associated with Guy Debord /
Situationism

Methodology

Various methods available e.g.

Go for a walk and document it - e.g. words, drawing, photography, sound, found objects, GPS

Pick a random point on a map and draw around a glass. Try to keep as close as possible to the circle made

Methodology

Use the map of one place to navigate a different place

Toss a coin to generate a random sequence of 'right' and 'left' instructions.
Walk that sequence from a given point.
Document the walk

Look out for stories, place names, overlooked places, 'liminal' in-between places. Notice things you might normally pass by. Be curious. Record

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Summary of the workshop in a illustration

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Summary of the workshop in a illustration

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Week 22 Friday Workshops with John Bently and Holly St Clair

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Week 22 Friday Workshops with John Bently and Holly St Clair

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Part of UAL database

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Digimap delivers maps and geospatial data from the Ordnance Survey (OS), the British Geological Survey (BGS), Landmark Historic maps, OceanWise marine mapping, the Centre for Ecology and Hydrology (CEH), and Getmapping aerial imagery

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Why this?

I chose a place that means something to se. It is a PUBLIC place but also PERSONAL.

Always try to research topics you have an interest in, or a connection with (it will make the process a lot more enjoyable)

Use both secondary sources (published articles, books) and primary sources (archives, original documents) if you can.

Make sure the information you find is reliable. What do I mean by that?

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Reliable sources

Provide references to other material you can check yourself.

By doing this you are also expanding your research to a deeper level.

Example: footnotes or bibliography in a published book.

Remember to cite all your sources and images correctly (use cite Them
Right)

sources for Harvard

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Unit 8: Me In the MapWorkshop: Ethnographic Research Methods | Tuesday 16.4.2024 Luise Vormittag, Reader in Illustration

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Unit 8: Me In the MapWorkshop: Ethnographic Research Methods | Tuesday 16.4.2024 Luise Vormittag, Reader in Illustration

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10:30 – 10:45
10:45 – 11:30 11:30 – 12:00
12:00 – 12:30
Task 1: Reflection – Visiting & Hosting complete worksheet (work by yourself)
Talk: Ethnographic Research Methods Task 1: Reflection – Visiting & Hosting
discuss worksheet (in groups of 3)
Round-up of Task 1 || Briefing of Task 2

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The authentic suzani tapestry features a combination of embroidery techniques (usually satin stitch, buttonhole stitch and chain stitch, including couching techniques) and patterns (such as floral patterns, geometric patterns and zoomorphic (animal- based) patterns.

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Anne Griffiths studied painting at Emily Carr University and received a diploma in design and illustration (1986) from Capilano University’s IDEA Program, later working as an international art director in several of Vancouver's prominent design firms for over 20 years.

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I liked the painterly texture in griffiths work

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“Swedish born Amelie Hegardt has been working as a fashion illustrator since 2005.
Her career started in New York doing commissions for companies such as Bloomingdales,
New York City Ballet, Sephora, Mac Cosmetics, Vogue, Harrods and Lady GaGa.

During the following years in London she lectured at UAL, Central Saint Martins and London College of Fashion.
She now lives in Lisbon and is represented by Agent & Artists in Paris.”

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"It's literally gentrifying fashion": Serena Brown confronts high-fashion brands on their co-option of working class culture

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“It’s literally gentrifying fashion”: Serena Brown confronts high-fashion brands on their co-option of working class culture

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“It’s literally gentrifying fashion”: Serena Brown confronts high-fashion brands on their co-option of working class culture

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3

To coincide with Portrait of Britain 2021 , Serena Brown discusses Back a Yard : a project addressing the meteoric rise of the tracksuit in British culture - and how marginalised people come to be priced out of trends they started

Culminating in the nation's biggest annual photography exhibition, Portrait of Britain is an award capturing the many faces of modern Britain. Enter now.

Growing up as a second generation immigrant in West London throughout the 2000s, neither Serena Brown, nor her friends, had large sums of money to spend on clothes. But fashion was a crucial part of their identity. The 23-year-old photographer harbours a palpable nostalgia for the trends led by (largely Black and Asian) working class kids of her generation: Nike's 'Just Do It' bags, Air Force 1 trainers, and counterfeit Gucci belts. But in particular, tracksuits.

"[Tracksuits] were traditionally low-brow items," she says, "often seen as threatening or 'chavvy' when we wore them." But as she got older, she was perplexed by their rise to high fashion. "Suddenly, designer brands were charging thousands of pounds for a tracksuit, and I was seeing low income people being priced out of the trends they had defined." In a bid to confront the brands who are "literally gentrifying fashion," Brown's portraiture series Back a Yard (a Jamaican term referring to the way things are done "back home") captures friends from her childhood sporting bootleg "high fashion" tracksuits in their local neighbourhoods.

The series was inspired by the Harlem-born tailor, Dapper Dan, who built a career in the 80s and 90s reworking high fashion clothes to make them more accessible to his community. His initial clientele were "hustlers" and local drug dealers; over time, he graduated to the likes of LL Cool J, Mike Tyson, and Jam Master Jay. Made out of textiles bought from Shepherd's Bush Market, each of the outfits in Brown's shoot cost about £20 to make. But donned by her subjects, they are effortlessly stylish: a simple reclamation of an aesthetic that was vilified for before it was "cool".

"When I was at school," Brown remembers, "I was constantly seeing boys get stopped and searched, and it was often because of what they were wearing. A lot of the time it was to do with race, don't get me wrong - but I also think class plays a massive role in it." Unsurprisingly, when worn by the (white) middle class, such negative connotations attached to tracksuits evaporate.

While tracksuits have a rich international history, their popularity outside of sports has, through the decades, been rooted in subculture. When grime music first unfolded from the council estates of East London at the turn of the millennium - stemming from a need for Britain's young, working class Black community to make their voices heard - the tracksuit was the movement's unofficial uniform . As music by the likes of Skepta, JME and Wiley swept the nation, so did the clothes they wore; part of a broader issue whereby, to this day, working class culture is co-opted, fetishised, and ultimately gentrified - meanwhile, the everyday people who created it are left behind.

"Suddenly, designer brands were charging thousands of pounds for a tracksuit, and I was seeing low income people being priced out of the trends they had defined"

The phenomenon is inextricably linked to visual culture, whether it's white models styled using Black aesthetics, or brands emulating the setting of a council estate to seem "gritty". "I always believe that the most honest way to document culture is to be representing one that you're a part of," muses Brown. "For me, in visual arts, that should be the standard. But instead, [marginalised] people have always been trapped within this really voyeuristic world."

Brown accepts that mainstream adoption of subcultural trends has always happened. Consider the popularisation of goth culture in the 1990s, coinciding with (amongst other factors) the breakout of Marilyn Manson and Nine Inch Nails; or the mass eruption of skate culture in the 2010s - Thrasher hoodies, Huf 'Plantlife' socks, Old Skool Vans - aided in part by the rise of rapper (and skateboard enthusiast) Tyler the Creator. In the case of tracksuits, and streetwear more widely, the photographer doesn't think it's a "bad" thing. But she hopes Back a Yard could encourage middle class audiences to be critical about the trends they engage with.

"It's more about acknowledging your privilege," Brown says. "[Acknowledging] that you're able to wear a tracksuit without being inconvenienced or looked down on in the street, while others aren't."

Flossie Skelton joined British Journal of Photography in 2019, where until 2021 she served as commissioning editor. She writes, edits and runs campaigns across arts, culture and feminism, and has worked with BBC Arts, Belfast Photo Festival and Time's Up.

3

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"It's literally gentrifying fashion": Serena Brown confronts high-fashion brands on their co-option of working class culture

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To coincide with Portrait of Britain 2021, Serena Brown discusses Back a Yard: a project addressing the meteoric rise of the tracksuit in British culture - and how marginalised people come to be priced out of trends they started

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What have I taken from these images?

It was A good exercise to take photos around the pub and looking at them on my Padlet in a completely different atmosphere these pictures of the disco ball, fire pit, rug are things that becomes so familiar when I’m on my shift I found it interesting trying to extract a creative idea with something I see most days.

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I knew Peckham long before it was gentrified - when I returned, it was unrecognisable

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I knew Peckham long before it was gentrified – I stumbled into one its most hipster venues this week and felt so out of place

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I knew Peckham long before it was gentrified – I stumbled into one its most hipster venues this week and felt so out of place

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I don't get cheques any more - they're sweet, aren't they? Obviously not as sweet as a great big bundle of filthy cash tucked into your bra after a gig in a pub back in the Nineties. Ah, those were the days of the box office split, when you could stand onstage and watch through thick fag fog the bloke on the door counting up the night's ticket takings (usually stashed in a pint glass) and dividing it into little piles depending on the number of comics on the bill.

Stand-up is the only thing that has ever improved my maths. In the early days, I got really good at estimating the number of heads in an audience, multiplying it by the cost of the ticket and then making a rough estimate of how much I was going to earn. Some nights it was just loose change that I'd be pouring into my bra, and no kebab for me on the way home.

Anyway, my mother gave me a cheque for Christmas and it's taken me more than a month to find the time to pay it into the bank. This is because banks have become "as rare as hen's teeth" (to quote my mum): the two nearest HSBCs to me - one in East Dulwich, the other in Camberwell - have closed; the former is a rather smart vets' surgery and the latter is empty, boarded up so thoroughly that street sleepers can't use its precious doorway (honestly, how vile can you get?)

However, there is one roughly a mile away in Peckham, so, suffering from writer's block and having already made more disgusting soup than my waste disposal unit was going to cope with, I trotted off: I had the afternoon to kill.

I've always had a love/hate relationship with Peckham. It has some of the loveliest properties in south London: in the middle of Peckham lies an exquisite Georgian village, all box hedges and Farrow and Ball-ed front doors, and then round the corner is Rye Lane.

UK: Anti-gentrification activists attack Shoreditch's infamous Cereal Killer cafe

Rye Lane is quite gritty and it smells; nail bars fight with Blue Planet-style fishmongers; let's just say it's one of the few remaining streets in London where I occasionally have to hold a scented hankie to my nose. This is because I have had a phobia about raw fish ever since I was 13 and went to Fleetwood docks on a school trip, had a massive panic attack and had to be taken back to the coach. Basically I can only cope with very polite-looking fish and Rye Lane is not polite. However, it does have a cinema where you can still see a blockbuster for a fiver. The Peckham Plex is notorious locally: the audience tends to get quite lively and I have regularly seen popcorn thrown at the screen.

Back in the early Nineties, when my friend Liza and I used to take the kids, we'd park in the multistorey car park round the back, which is now... not just a car park.

Peckham Levels is a space, a venue, a place where people can hang out and be creative. If you're visiting for the first time (just follow any hipster type from the train station and they will lead the way), be prepared for the staircase, which is a glorious technicolour assault on the eyeballs. Yes, there is a lift, but I once had a traumatic experience in it - which is why I have never done car park lifts since.

Anyway, the staircase doesn't smell of wee and ganja anymore. It smells of a brand new Peckham, which at the moment is mostly plaster board and concrete. This is a project in its infancy. To be honest, I wandered into areas where I should have been wearing a hard hat and you have to climb to levels five and six to get what the place is about, which is, well, a cool zone, an achingly hip space to gather and plug in a laptop and discuss projects over tables topped with succulents and pore over menus that feature ancho crema and whipped labne, which sounds a bit rude to me.

There is a big vegan vibe going on here, though meat and bao buns and so on are also available. I stumbled around the place like a great big middle-aged Alice, here a yoga studio, there a hairdressers', everywhere young people artfully looking distressed. Soon there will be ceramics classes, music recording facilities, all those hopeful optimistic arty things.

It felt great and I also felt confused. I thought about sitting down but I couldn't decide where. I was hungry but I didn't know what "Umeboshi pumpkin salsa" was, so I tottered down the stairs and walked home. It was only when I got indoors and was halfway through a bowl of foul homemade soup that I realised I'd forgotten to take the cheque to the bank.

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I knew Peckham long before it was gentrified - when I returned, it was unrecognisable

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There I was, a great big middle-aged Alice among groups of young people artfully looking distressed and ordering 'Umeboshi pumpkin salsa', which I'd never even heard of

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Peckham Has a Gentrification Problem. A Converted Car Park Wanted to Solve It

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One Year On, Peckham Levels Is Struggling to Keep Its Promises

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One Year On, Peckham Levels Is Struggling to Keep Its Promises

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Peckham Has a Gentrification Problem. A Converted Car Park Wanted to Solve It

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Peckham Levels was heralded as an innovative community venture. One year on, many of those involved say that it has failed BAME residents.

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This is Peckham - a ten minute film about gentrification

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This is Peckham – a ten minute film about gentrification

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This is Peckham – a ten minute film about gentrification

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Earlier this year, we reported on a short film by Shane Duncan called, " This is Brixton: new video explores the impact of gentrification."

Duncan has now released a follow up film about Peckham, which takes a look at a similar theme:

This is Peckham ... is the second of a series of films about gentrification which is working its way throughout London by swallowing up popular working-class areas and converting them into spaces fit for the middle class.

Peckham is in its early stages where changes in the area are starting to be seen, Will Peckham follow Brixton or is this area a sign of hope that change can be good if controlled properly.

The press release contains the background to the project:

This Is Peckham, is the second part of a documentary series from young film maker, Shane Duncan. The film explores the positive and negative effects of regeneration in Peckham, through the eyes of the community - old and new.

The term 'gentrification', was first coined by British sociologist, Ruth Glass in 1964. She

used it to describe the displacement of the working class by the "invading" upper and middle classes, to the extent that "the whole social character of the district is changed".

In 1987 as London's east end regeneration looked like a one way street for commercial interest, Margaret Thatcher famously said "...there is no such thing as society".

Today members of society are vocal about how it they want their town to advance and we are seeing a new generation of development which either thinly or resolutely attempts to marry commercial and social needs.What does regeneration look like in Peckham? What does it take for regeneration to be welcomed without the negative connotations of gentrification?

Shane Duncan is a 25 year old film maker who grew up and and still lives in Brixton. He began the series exploring the topic in his hometown with, This Is Brixton.

"I kept reading about regeneration in my area and it didn't match up with what I saw, what I felt... I wanted to find out for myself and hear from people that live and work here not a pundit so I picked up my camera and started to ask people about their experience.

As I started started to understand what was going around me I knew I had to find out if this was the same throughout London, so I started the series"

Shane is about to go into production on This Is Croydon, an area which in the age of the small and independents will soon see Westfield arrive. One of London's largest towns and home to many of the UK's most famed creatives, will the voice of Croydon's residents differ to that of Peckham and Brixton?

Peckham chat

Peckham news, rumours and general chat
Peckham Levels: Pop Brixton team takes over Peckham's iconic multi-story car park

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This is Peckham - a ten minute film about gentrification

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Earlier this year, we reported on a short film by Shane Duncan called, " This is Brixton: new video explores the impact of gentrification." Duncan has now released a follow up film about Peckham, which takes a look at a similar theme: This is Peckham ...

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Biography

“Cecilia has been working as a full time illustrator ever since she graduated from

London Collage of Communication in 2003. She spent several years in London and

New York but is now back in her home town Stockholm. She has worked with a wide

range of clients but is essentially linked to the world of fashion. Experimentation is an

integral part of her working process and she uses various techniques in her work such

as ink, screen printing and collage.”

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One of my original ideas was to create a magazine which then develops into potentially creating a newspaper as it Connect well with the Whitehorse although my time management wasn’t the best with printing I’d have to complete it a week before the exhibition which was unrealistic although was good to research as I might use it in year 3

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Week 22 Friday Workshops with John Bently and Holly St Clair

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Week 22 Friday Workshops with John Bently and Holly St Clair

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PART 2. A). Collections of evidence.  Tools and Clothes   (30 mins)

Draw all the tools  you  own but in outline  only.

No internal  information is  required…

Fit all the tools  all on  one A1  Sheet.

All the  information and descriptive detail  in this drawing

must   be contained in the outline.

Please follow these instructions closely. and add no  shading,  no tone.

This is a forensic collection.

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Week 22 Friday Workshops with John Bently and Holly St Clair

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Week 22 Friday Workshops with John Bently and Holly St Clair

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B) Clothing (30 mins).

Draw every single item of clothing you own  in the same way,

include interior detail but no  shading or tone. Colour can be usednow.

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Week 22 Friday Workshops with John Bently and Holly St Clair

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Week 22 Friday Workshops with John Bently and Holly St Clair

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13.30pm Part 3   Banknote  of You!

Take all the elements from the mornings drawings...and turn them into a banknote of the Bank of You !

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Week 22 Friday Workshops with John Bently and Holly St Clair

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Week 22 Friday Workshops with John Bently and Holly St Clair

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Why this?

I chose a place that means something to se. It is a PUBLIC place but also PERSONAL.

Always try to research topics you have an interest in, or a connection with (it will make the process a lot more enjoyable)

Use both secondary sources (published articles, books) and primary sources (archives, original documents) if you can.

Make sure the information you find is reliable. What do I mean by that?

Reliable sources

Provide references to other material you can check yourself.

By doing this you are also expanding your research to a deeper level.

Example: footnotes or bibliography in a published book.

Remember to cite all your sources and images correctly (use Gite Then
Right)

To recap

I did some online research but I also:

Went to the local library and spoke to the staff.

Took photos of ay estate.

The next step would be to go to and look at original documents in local and national archives (primary research).

I could also have reached out to members of the Norwood Society or the Crystal Palace Subway and ask them questions (this also counts as primary research)

Primary research-The National

Archives

Don't be afraid to use the local librarles and archives, and to talk to the staff.

There is also The National Archives which is a place that can be visited.

Here you can find original documents and a catalogue of about 500 local archives- with access information for them.

ck the access requirements before you visit!

Secondary research-The British Library

The British Library is the largest public library in the UK.

Register before you visit. You cannot borrow but you can read the books on site.

The library also has a vast online collection of inages, sounds and other interesting archives, though due to a cyber-attack, these are not accessible in full at the moment.

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The workshop investigating the institutional site by Hayfaa Al-Chalabi and Henrietta Simson.

NOTES
Institutional Critique

A form of Conceptual art that emerged in the 1960s focussed on a critique of the art institution - the invisible power structures that support the gallery / museum - the funding, the curation and acquisition - asks whose interests are prioritised

Involves an exploration of bodies and sites and how these function (the site as a display of power)

Proponents include Hans Haacke, Andrea Fraser, Louise Lawler, Marcel Broodthaers, Carey Young

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The workshop investigating the institutional site by Hayfaa Al-Chalabi and Henrietta Simson 19th of April

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The workshop investigating the institutional site by Hayfaa Al-Chalabi and Henrietta Simson 19th of April

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Finding texture in Camberwell

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https://www.instagram.com/toadbakery?igsh=ZzV4OG90cmhodXdl

Why I didn’t continue with Toad as a site

1. I didn’t want to restrict myself to only illustrating food although looking back now I definitely could have illustrated the people building utensils, etc

2. The location didn’t excite me as much as I thought it would it felt restricting in Ways. This could potentially be down to history of the bakery

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Reasons for not moving forward with Burgess Park

I originally envisioned a project where I could illustrate 101 things to do in Burgess Park and potentially put it into a small book. As I love illustrating nature and community, I thought this would be a great place to start.
When I start a project, I generally start with rough layout of similar art I’d like to produce so I can visualise some sort of direction.
As I started to create this book I realise how much work this was involved not only illustrating but also getting to know the site and all the different activities, clubs and people I’d need familiarize myself. I had hoped to interview the local football cricket and boxing club within the park, talking to local fisherman and so much more. Realising I’m not in any of these sports clubs and not knowing any of the local people very well I decided it was too shorter time to start such a heavy story and community based project.

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https://www.instagram.com/whitehorsepeckham?igsh=dHo3dGFxcDlvYXNo

my final thought through the help of my tutorial I realised the white horse pub impact and was a good starting point. It is where I have worked for the last nine months so I felt like it was somewhat familiar. I also work in the kitchen part of the pub which allows me to illustrate food  and recipes which excited me.

I wanted to move forward with the Whitehorse as it felt exciting in which way my project could go down, I usually hate not knowing what my outcome would look like, although I thought it was a good time to practice and going with the project with no visualised idea of the outcome. I initially thought of looking into justification on both sides of the argument alongside the history of the white horse pub.

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I have always enjoyed drawing pattern therefore I began to illustrate the pub rug. I think this watercolour painting is successful. I like the design. I did struggle with how it would fit in with what idea I wanted to move forward with. For the first time I had began making rather than coming up with a final outcome and making work for the outcome.
I did feel a bit nervous about this as I struggle with producing work not known the outcome as I sometimes think it’s a waste of time although upon reflecting it’s the opposite and is a great way to learn new processes and practice the practical sides of illustration rather than the conceptual side.

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Magazine:
My first idea I had was to come up with was to create a magazine focusing on pattern and colour I see throughout my shift.

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https://www.canva.com/design/DAGCyoZJoTc/MQ1nY1Lx8YfnW-o9KmXrNA/edit?utm_content=DAGCyoZJoTc&utm_campaign=designshare&utm_medium=link2&utm_source=sharebutton

Here is a link to the rough layout I had created on Canva to visualise what my potential outcome could look like.

Initially the pattern idea just started with my interest for aesthetics and illustrating patterns although I felt like the workshops and lectures where leading to have political meaning behind our work.

I started to struggle as I was fixated on creating a project which had a complex and political meaning I personally don’t enjoy to incorporate the both as I find it very hard to illustrate something very serious and complicated. I was conscious of the time that was given for this project and felt as though my research into gentrification was two broad a topic to articulate into one illustration. Once I started researching into gentrification I found it very interesting but overwhelming at the same time as I looked into both arguments it was hard for me to agree with one side upon reflection I could Illustrated both sides of the argument although I struggled to come up with ideas on how to show this.

For example, when I did unit 7 I really struggled with illustrating the article on digital addiction as it’s not something I would naturally illustrate as I enjoy fashion illustration.

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From researching into the gentrification of fashion, I was interested in how I could take this further and incorporated into my project as the pub I work in definitely plays a part in gentrification on Peckham as a place I do you think this is a bit of a leap with my original mapping of the white horse I did struggle with how different the too don’t really feel like they connects.

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“Even the White Horse name itself is ancient and one of the earliest that was given to public houses. According to the History of Whitbread Pub Signs: 'the white horse was a fertility cult of the Belgae, a tribe who occupied much of south east England between 50 BC and 50 AD'.”

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Gentrification is a clash between the power of private capital and government policy and the power of people in targeted communities to preserve their homes and heritage.

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Gentrification is a clash between the power of private capital and government policy and the power of people in targeted communities to preserve their homes and heritage.

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Gentrification is a demographic and economic shift that displaces established working-class communities and communities of color in favor of wealthier newcomers and real estate development companies. Heavy private investment in target neighborhoods causes price to rise sharply, and amenities enjoyed by the new residents, such as more expensive shopping and dining, drive out businesses that were supported by the established community. The process can leave neighborhoods that generations have called home transformed in just a few years.

Photojournalist John Langmore documented this time of change in the African American community of East Austin in his book Fault Lines. His photographs capture the character of the community between 2006 and 2010, a time of very rapid gentrification. Co-author Wilhelmina Delco expressed the pain of dislocation for the community, not merely as an injustice, but as a broader loss: "I fear we're losing something of real value to our city, both in terms of a history and for Black people. My plea is simply that all this change not come at such high a cost-that is, that Austin not forget the important contribution East Austin's Black community made to the city." ¹

Many of the gentrified communities in the United States, and areas where gentrification is in process, developed because of racist housing policies dating back to the 1940s. Housing discrimination based on race was legal in the United States until 1968 and, in practice, it carried on much longer. People of color were often segregated into areas that white people found less desirable. When the U.S. Supreme Court decision in Brown vs. Board of Education of Topeka integrated public schools in 1954, many white Americans moved away from cities and into suburbs that were largely white and excluded people of color. The phenomenon was called "white flight."

To encourage people to move into suburbs, real estate brokers practiced something called blockbusting. They encouraged Black families to pay a premium to move into particular urban neighborhoods so that white families would sell their houses at a low price to move out to the suburbs. After this process was complete, the new minority communities were denied the money they needed to invest in improvements to their neighborhoods through a practice called redlining. These factors combined to reduce opportunities in many urban areas. Capital investment shifted away from cities and segregated communities into predominantly white communities. Because public services are funded by taxes, a smaller, less affluent tax base left many communities underserved.

Beginning in the late 1970s, the U.S. government passed the Federal Historic Preservation Tax Credit, which created an incentive for developers to invest in urban areas that had been all but abandoned by affluent white people. In 2000, the federal government enacted the New Markets Tax Credit, which made tens of billions of dollars in government money available for urban revitalization projects in low-income communities. Urban neighborhoods that had been overlooked by investors became more attractive. The economic benefits to the city often came at the expense of existing residents of these areas, who were displaced.

In the early 2000s, affluent professionals began to reject suburban life for a chance to live in cities, where they could live close to work and enjoy the cultural amenities of a large urban center. Many moved to city neighborhoods that were home to people of color and working-class families.

The trend toward gentrification is not entirely limited to the United States, though the economic and social factors underpinning it are not the same in other counties. For example, both East London and Rome's Testaccio district were traditionally working-class or minority neighborhoods. Both areas have experienced an influx of wealthier residents and increased real estate development. As India's economy expanded dramatically in recent decades, the country has experienced rapid urbanization. Urbanization is a phenomenon that resembles gentrification in that less affluent communities are displaced by more affluent residents. The economic benefits of urbanization for developers and governments clash with the needs of villagers who are forced from the land that sustains them to make way for massive new or expanded cities. In the state of Gujarat, a rapidly urbanizing area, people facing the seizure of their agricultural land by the government have organized and protested. But activists see a grim future for the villagers. Persis Ginwalla of the advocacy group Jameen Adhikar Andolan warns, "Industries and urban centres need disposable low-wage workers, and those displaced from their villages will provide just that." ²

In the United States, local organizers in communities vulnerable to gentrification have had some success in pushing for preservation efforts in their neighborhoods. Increasingly, real estate developers and city leaders have worked together with community organizers to create a shared vision for development projects. This approach is often called "equitable development"-a new experiment in urban planning with yet-unknown results.

Carlton Eley, a senior official of the Environmental Protection Agency and driver of the equitable development concept, says equitable development is an approach to the challenges faced by cities and their citizens that could produce healthy, resilient, thriving communities without displacement. "Obviously there is no one-size-fits-all way to address [gentrification]," Eley says. Equitable development, he explains, is "a way whereby we can try to encourage more parity and better outcomes through the process of changing how we plan and develop communities." ³

1. John Langmore et al., Fault Lines: Portraits of East Austin (San Antonio: Maverick Books/Trinity University Press, 2019).

2. Kumar, Raksha. "'Leave Us Alone': India's Villagers Rebel against Urbanisation." The Guardian, February 12, 2018. https://www.theguardian.com/cities/2018/feb/12/india-villagers-rebel-urbanisation-gujarat

3. Mock, Brentin. "Urban Planners May Have Finally Found How to Get to Sesame Street." Grist, February 13, 2015. https://grist.org/cities/urban-planners-may-have-finally-found-how-to-get-to-sesame-street/

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Gentrification is a clash between the power of private capital and government policy and the power of people in targeted communities to preserve their homes and heritage.

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“With pub names came pub signs – as the majority of the population could not read or write. In 1393, King Richard II passed an Act making it compulsory for pubs and inns to have a sign (his own emblem the 'White Hart' in London) in order to identify them to the official Ale Taster.”

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Moving away from fashion gentrification I looked into gentrification of Peckham which is a very complicated topic. I believe it would have been ignorant of me to ignore this prevalent topic and to not do research in to this, I’m not from Packham I will never understand how it feels to be from here therefore I was very cautious of not being biased and insensitive. I really wanted to understand both sides of the argument. At this point in the project I struggle to define what I wanted my message to be I had looked into gentrification to the best of my abilities, but still struggled to communicate this through an illustration. I once again just started to sketch things I see throughout my shift I bit like a documentary style photographer. I believe these came out successfully I feel as though I captured the atmosphere and movement well within the sketches.

From having a tutorial with Luke, we discussed why moving forward with this idea of what I see throughout my 12am-10pm shift felt appropriate as I was very conscious of time and the huge complicated topic of gentrification I had chosen to communicate.

It felt right moving forward with this idea as I had already relieved a lot of pressure I felt from the topic of gentrification I didn’t feel like it was a waste for me to look into this either as it move my project in a way I could never have anticipated. Also learning about this was very important when mapping out a pub in the hart of Peckham i’m glad I have the comprehension of gentrification in Peckham.

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Developing my sketches into acrylic paintings

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Developing my sketches into acrylic paintings

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Developing my sketches into acrylic paintings

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Developing my sketches into acrylic paintings

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Developing my sketches into acrylic paintings

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Developing my sketches into acrylic paintings

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Developing my sketches into acrylic paintings

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Developing my sketches into acrylic paintings

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Developing my sketches into acrylic paintings

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Developing my sketches into acrylic paintings

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Developing my sketches into acrylic paintings

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Developing my sketches into acrylic paintings

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Developing my sketches into acrylic paintings

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Developing my sketches into acrylic paintings

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Developing my sketches into acrylic paintings

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Developing my sketches into acrylic paintings

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Developing my sketches into acrylic paintings

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Developing my sketches into acrylic paintings

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I laid all of my work out I had done On my bedroom floor, I didn’t like any of the work I had done so far I think the watercolour rug and painted legs were successful. I was trying to figure out why and came to conclusion of the others were lacking texture and felt very rigid. I had previously gone to the BA 2 to fine art exhibition where I saw many talented paintings which inspired me to use some acrylic. Although in my case it didn’t translate what I wanted it to, it lost the movement and atmosphere from the sketches, I had done possibly from  the opacity of the paint where I lost texture and lack of bold flowing brush strokes.

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Over the past two decades, with rapidly advancing technology, the fashion industry has evolved and the increased market for fast production clothing has led to global environmental devastation. One of Gen Z's answers to the textile waste and carbon emissions caused by said trade, is virtual second-hand fashion platforms like Depop. The growth of this resale market has led to the rise of the Depop Seller. The Depop Seller can be forward thinking and business savvy, reselling vintage items for several times the amount they originally paid. However, the ethics of the sustainable Depop Seller and eco-friendly consumer are queried by the discourse that Depop has undergone gentrification.

The criticism lies in the reality that sustainable clothing should be for everybody, not just those with an interest in fashion. By profiting from low priced charity shop items, the Depop seller is potentially taking away the opportunity for low-income consumers to shop sustainably. By way of explanation, there will be less items available in charity shops resulting in low-income shoppers taking their business to cheap fast fashion corporations instead. A further concern creeping its way into the discussion, is that charity shops may also begin raising their prices to compete with these online second-hand markets.

The Depop Seller has also been branded a 'scammer', specifically when their business models are shared on TikTok and YouTube. Some second-hand shoppers see the bulk buying of low priced items and reselling for an extreme profit as the exact definition of gentrification. This is because the Depop Seller is promoting a practise, most comely exercised in low-income communities, to the wider population and in turn excluding those who need it most.

In spite of this, the Depop Seller contends that the price of vintage garments are reflective of the time spent locating and photographing the item, delivery costs and Depop fees. The platform also acts as a source of income and business starter for many young people and does encourage environmentally responsible fashion choices. The sustainable fashion market is also predicted to be worth $64 billion as of 2024. This is more than double its worth in 2019. Gentrified or not, second hand clothing markets like Depop are playing a huge role in the steady decline of fast fashion which, regardless of the gentrification discussion, is a positive. It is still necessary that these discussions be had and viewpoints be heard in order for some Depop users to recognise their privilege and become the most ethical and sustainable consumers and sellers they can be.

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Over the past two decades, with rapidly advancing technology, the fashion industry has evolved and the increased market for fast production clothing has led to global environmental devastation. One of Gen Z's answers to the textile waste and carbon emissions caused by said trade, is virtual second-hand fashion platforms like Depop.

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“The White Horse has been serving the good people of SE15 since the early 1800’s, with Parched Pubs taking the reigns in 2014. Combining old school values with contemporary consideration, we hope to give the neighbourhood a much loved local that’s great fun the whole week through.”

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20 – 22 Peckham Rye
London
SE15 4JR

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Buses

12 37 63 78 197 343 363

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Bar:

Monday – Wednesday : 12pm – 11pm
Thursday : 12pm – 12am
Friday – Saturday : 12pm – 1am
Sunday : 12pm – 11pm

Food:

Tuesday – Friday : 12pm – 3pm / 6 – 9pm
Saturday : 12pm – 9.30pm
Sunday : 12pm – 6pm*

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As I was unhappy with how my acrylic paintings had turned out, I was trying to figure out a way I could change the format without starting fresh.

It was a suggestion to look into beer mats and how I could transfer my illustrations. Here’s a rough layout of a quick procreate scratch I had done along with existing beer mat designs I had found on the Internet.

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Riso experiment

I’m really glad I booked a Riso print session although there was only one session available I knew I can produce my final outcome through this medium although it was great experience to make the contact and to know what room to go to for year 3

I went onto put these A5 prints into the shop.