Communication Design School of Design
Chloe Francesca Attwood
Hello !
My name is Chloe Francesca Attwood and I am a 23 year old London born, Glaswegian educated illustrator. I take most influence from the fictional worlds of Film and Literature, spending most of fourth year with my nose stuck in Alain Fournier, Aldous Huxley and Simone de Beauvoir. I enjoy translating their words and ideas into a visual language. A large portion of my work is shaped by a fascination with the discipline and delicacy of traditional etching and screen print techniques.
BLOW UP
This piece of work is in response to Michelangelo Antonioni’s 1966 psychological mystery film, BLOW UP. My intention was to communicate Christopher Booker’s ideas of the superficiality of swinging London through the lens of Antonioni’s film making. Using a two layer screen print, a popular process of the time, and taking inspiration from 1960s LIFE magazines and David Bailey’s box of pin ups, I illustrated iconic faces of 1966. Drawing people from both the film and popular culture: the Kray twins, Francoise Hardy, David Hemmings, Jane Birkin, Cher, Twiggy, Mick Jagger, Vanessa Redgrave, Marianne Faithfull, Veruschka von Lehndorff, Gillian Hills, Jim Morrison, Jean Shrimpton, Pete Townshend!
La Chimera
Alice Rohrwacher’s 2023 film La Chimera was another film I referenced in the Extending Design course. I use this film to illustrate the point that there is still hope for the future and how attitudes towards the progression of society will look back through history to inform the future, we will place a larger emphasis on traditions. Therefore, I chose etching as my process for the poster, a process that dates back to the 1500s looking at Etruscan statues to see how faces are sculpted and allowing that to inform my final etching of Josh O’connor. I envisioned what his bust might look like. Half ancient relic, half dreamed memory. I was enthralled by the immense care and detail of each mark made by etching masters, I loved how you can see where the artist placed the line and how that small, intentional mark influences the shape and tone of the overall illustration.
The final poster is (50 x 80cm) and I blew the etching up and screen printed to create a shiny coppery effect, incorporating a delicate cursive font to present the title and elude the string motif in the film.
Project Links
The Man Who Fell To Earth
I was most captivated by Thomas Newton’s first impression of Earth, how alien and disorienting it feels through Roeg’s fragmented, almost montage-like editing. The Man Who Fell to Earth explores themes of capitalism, consumerism, love, and sexual depravity, all refracted through Newton’s otherworldly gaze. I was especially drawn to Roeg’s presentation of the body, both human and alien. Bowie’s bald-headed alien family felt eerily serene, while the portrayal of human physicality had a raw, sometimes unsettling edge. Visually, I was reminded of Michael Clark’s Cosmic Dancer. His strange and compelling curation of the body directly inspired the stenciled falling figures in the final poster.
Dry Point Etching
Nudity
This selection of drypoint etchings reflects how deeply the technique has become embedded in my practice. With drawing at the core of most of my work, etching has offered a way to refine and evolve my illustrative style through a slower, more deliberate process. I’m drawn to the intentionality of mark-making in drypoint, the physical act of incising the plate feels almost sculptural, allowing me to build texture, atmosphere, and depth into each image. The resistance of the surface and the unpredictability of the ink catch bring a tactile immediacy that continues to shape how I approach image-making.
