Unit X - Evaluation

I have reinterpreted a Folktale The Deer without a Heart, focusing on the character of the Brainless Deer to represent a more biologically accurate narrative.  Taking a modern day secular method to retell this fable through stitch enhances both a message of animal rights and also moves the narrative of animals from the remit of children’s stories into more of an adult and academic audience, and offers tactility, delicacy and impact.

 

My first project (Bradford Textiles Society Design Brief) was related to the cruelty of foxhunting and the urbanisation of their habitats, by developing this further I am able to create more narrative and figurative responses to story-telling and allows my strengths to ben known.

 

I use my work to communicate with my audience. I have created a range of fabric samples for different purpose, interior designs, illustration as story-telling and motifs for fashion use.

I have looked at a number of artists and designers including Karen Nicol and Brian Wildsmith for inspiration.

 

Figure 1: Karen Nicol, Fox in the Fall, 2014

Artist based research helps me understand where my work fits.  I somewhere between the busy composition of Wildsmith and the texture and detail of Nicol’s work.

 

Figure 2: Brian Wildsmith

I have studied animal movement, focused on lions, nature documentaries and Simon king photographer as a reference. I developed a number of characters and imagined their own histories and personalities to help give depth to the samples and stitch work that I create.

 

Throughout this project my major challenges were both composition and use of materials. I have successfully managed to use these to help my final pieces and I have found the appropriate materials for a final professional piece.  I am working in duck cotton as a base fabric and also a range of found materials. 

 

I challenged my scale of work in terms of embroidery and have adjusted sizing to not lose detail.  I have also successfully managed to reproduce similar results to my sketchbook work.   Using my sketchbook every day throughout the project has been a major achievement as it helps me with the quality of the output I produce. My sketchbook work shown the range of composition, scales and realism.

 

The final output is a body of sketchbook and sample to draw together both story telling in the traditional sense, but also as a frame my samples and characters. I managed to successfully complete the project within the timescale and also was able to refine several aspects by redoing them on new fabric to make them more professional. After this body of work was completed I continued working alongside International Fashion students to contextualize my employability options and work context for my target audience and how best to market to these groups.

 

 

Unit X - The Brainless Deer

After my tutorial, I have decided to expand on my characters’ background. Such as at drama class, where I was given a role to play and I have to use my imagination to shape the personality of the character.

 Figure 1: Sketchbook drawing

I have set myself a target of filling as much as I can with sketchbook drawings, then I plan to select and create them into samples later on.

In figure 1, I watched wild life of lion pride as my researching reference. Where when a male lion grow up it travels to find another pride and take over it as its own.   There is a feeling of power and isolation.   The lion is forced to leave his own pride. This is one of the reasons why in my work the lion is represented as close to death as he searches for his new pride to rule over. 

Figure 2: Sketchbook drawing

As in background I drew a group of lion pride watching the lion go.  The male lion here represents the head of the pride surrounded by lionesses.  The bushes allow the story to be placed in a number of different locations.   

Figure 3: Sketchbook drawing

I added in the fox at the corner of the page as a hint of its arrival later on in the story.

Figure 4: Sketchbook drawing

This representation of two lions fighting was a useful tool to be able to see how lions' bodies move and how they move, creep hunt. This will allow a sense of realism in the design and this will benefit the planning of the final piece. 

Figure 5: Sketchbook drawing

I plan to draw a series of different types of deer and study the muscle mass of the deer’s body in order to improve my drawing skills.

I found deer are magnificent, especially the male with large horns.  I want this to give an overwhelming feeling for the viewer.  I am designing a unique deer, based upon many different deer to make this piece more original. 

Unit X - The Brainless Deer; Artist Research

Figure 1: The Circus by Brian Wildsmith, 1930 

I am looking at Brian Wildsmith’s work for inspiration composition of use of colours.

For he is a painter and children ‘s book illustrator, which as my current project are narrative, story – telling, therefore, I think looking at his way of illustration would help me to illustrate the story.  This is the type of career I am considering, and this work is similar in style to what I create. I like the childlike drawing style- it creates a connection to the children as his main audience.  I want the audience to make connections with the animals in my work.

Brian Wildsmith

I am looking at the use of colours and the composition on overall in this painting.  The way the animals sit on the page inspire me.  This drawing style is very detailed.  The composition and scale of the image help the sense of the story.

By looking at this work, there is a potential for a great amount of reader imagination that is facilitated by the depth of visual images.  I plan to illustrate my story in a way that is similar to this, but in thread. 

Figure 3: Sketchbook Drawing

Before developing needlework, I have drawn the deer first then added the lion.

Figure 4: Sketchbook drawing

I then cut out the deer and re drew the lion.  I have developed composition and scale through the drawings. Focusing on spacing between the characters and using Wildsmith as an example.

Unit X - The Brainless Deer

26/04/2016 – I had a meeting with two staffs regarding the Vertical Gallery.

I understand during my working progress, I had a few difficulties, such as for I had experimented my samplings onto different types of found fabrics and some of my samples have been stitched onto light weight fabric, therefore, the outcome were not as up to standard as the heavy weight material.

Figure 1: Planning

Whilst working with scale I am also working with material densities. After my tutorial with my tutor, I have used a piece of found material (Curtain) to work on the final scenes with my narrative folktale. (The Brainless Deer)

Drawing upon a project I undertook last year within a vertical gallery exhibit, I am conscious about the composition affecting the overall piece.  I plan to reuse one of my already made samples within the final piece, and creates the other two characters, the lion and the deer.

I have draw out a blue print to help with my composition.

Figure 2: Planning

I am experimenting with the floral on this fabric as a method to blend the white and green fabric together.   I will develop the portrait of the lion and the deer.  This is based upon a cinematography technique.  It shows control of the fox at the top.  I enjoy playing with this composition.

With using found materials, one thing I did not put into account was the already printed background, it worked well for some of my samplings, but not all.

Figure 3: Sketchbook Drawing

This development of composition and understanding the found material background was too strong, I went back into drawing some more sketchbook work concentrating on the outlines of my in order to bring back more of my drawing element into my samplings.   The blue has been sampled here again as a refernce to death and interconnectedness with the lion.

Figure 4: Sketchbook Drawing

I recreated some of the narrated scenes to develop composition samples. This scene is about asking the fox for a favor and you can see the lion is in the background to show a shift of power from the lion to the fox.  It also shows distance between the characters.

 

Figure 5: Sampling
 

I first hand painted directly onto the fabric to make best use of my compositioning skills development and then hand stitched directly onto the fabric with thread. I also used cornely and Irish machine stitches on the fox and cornely on the deer too.

Figure 6: Sampling

I have used a cotton-based fabric that are similar to the colour of my sketchbook paper.  I am in the process of editing these to look as realistic as my sketchbook drawings look.   I am happy to restart pieces to allow for a perfect final image.  I dislike trying to troubleshoot and fix something.  I have therefore learned to work quickly and to work on smaller scales.  This gives me more control.  Large-scale pieces offer different challenges for intricate stitch work.

Unit X - The Brainless Deer

Figure 1: Hand embroidery

After my tutorial with my tutor, I had the feedback of what needs to improve within my practice.

See figure 1, I need to combine a mixture of machine and hand embroidery and not limit myself with one and other. I am developing scale within my work.  

Figure 2: Sample

The techniques are within my sample, see figure 2. See figure 3.

There seems to be a contradiction in the facial expression of a hunting and stalking lion in this sample.  However, the expression of the Lion are about to kill are not within my drawing nor in the sample.

Figure 3: Sketchbook Drawing

In order to address this issue, I have a conclusion; I plan on using my sketchbook drawing and found materials to create a bigger scale and working towards a final piece rather than singular samples.

Figure 4: Sketchbook Drawing

I have set myself a deadline for creating samples and sketchbook drawings.

Figure 5: Sketchbook Drawing

I plan on create the samples from my two sketchbook drawings then using photocopy to plan them onto fabric to plan a composition for my big scale piece.

Unit X - The Brainless Deer

Figure 1: Sample

Following up my sampling I have first chosen a lightweight fabric to work with. However, it causes too much tension on the stitching during the process.  This had an impact on ho professional the final piece would look. I then solved the problem with cutting around the figures and placed on an heavier weight fabric, which I am pleased with for it creates the winter effect. 

Figure 2: Drawing

I was finding it difficult to draw and capture the front portrait of Lion.

For the final scene of my story, I want the Lion to eat the Deer, but in figure 1, a clam stillness. For it was not sad about the deer. For what is chaos for the deer, is nature for the Lion.

I plan on to have the deer body below the Lion.   I will experiment with different angles of the body and how these can show emotion as much as facial expressions can.  

Figure 3: Sampling. 

I have started to map out my figures through hand-stitch. During the process, I have developed a hand stitch pattern within my design. 

Due to holiday, I have no access to machines, I have decide to hand embroidery. It helps me to decide and see which technique is appropriated for which area.

I plan on to make a start on samples.  I enjoyed hand stitch, it mirrors painting an image and it allows a personal connection and more control over the final look.  

Unit X - The Brainless Deer

Figure 1: Sketchbook Drawing

My point of view of the three main characters are influenced by author Charles Foster Being a Beast, 2016. For in the book Charles Foster describing the deer being a god like creature, I used that perspective to create my story.

For the Deer being a god like creature, I created a snow background for the scenes. When winter comes, the Deer are hidden. The Fox has found the deer.

 

 

 

 

 

 

 

 

Figure 2: Sketchbook Drawing

The Deer are more hidden than the Fox, in the landscape and so by looking back on my drawing, I have chosen to focus on the head area and concentrate on the figures and landscapes separately. The body in this drawing is disjointed from the face.  It seems to lack as much detail and the details within the face become the focus for the picture.

 

 

 

Figure 3: Sample.

I have selected out area of my drawing matter.  In developing my samples, I chose to focus, upon the strength of the drawing, and developed the facial expression of the fox.  This is the key to reflecting the storyline accurately. The character is the link between both the deer and the lions. Therefore, I have chosen to try and hide the fox inside the illustrations.

The illustrators can sometimes introduce their own characters without a monologue (ref) therefore; I wanted to try this technique here to help drive the story more.

There is a strong link towards my Bradford brief. I designed this to be a subtle existence of a complex character.

 

 

Figure 4: Sample

I experienced the downfall of using lightweight fabric, as the tension made the fabric ripple and tighten.  I plan to solve this problem by using heavier weight fabric for my following samples, but also I plan to embellish felt around the figure in terms of making the most effective use of this work and for being sustainable.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Unit X - The Brainless Deer

Figure 1: Sampling

Reflecting on my previous unit’s work where I have a limited range of fabrics, this project enabled me to use different fabrics. Using found material, (light cotton) to match the characters’ mood and looking at collaboration within the materials, how do I interrupted it with my skills in drawing and my skill in embroidery.

Using the book Being a Beast by Charles Foster, 2016. As a researching material for my project, understanding, discovering animals nature through Foster’s eye, through my imagination, afterthoughts.   

Figure 2: Sampling

Using my work experience at Alexander McQueen and use that within my embroidery skills.

Bringing in the work of sequins into my work, yet, I believe the craftsmanship of needle techniques are important. Therefore, I am translating my focus point onto fabric, I plan to experiment on different scales, and scenes within the story. I am aiming to balance within hand embroidery techniques and sequinning. 

Figure 3: Costume Design Embroidery on Game of Throne (TV Series)

I am inspired by the richness of embroidery on costume design.  This costume is for Lannister: (G.O.T) and also bring in the element of the Lion’s character within my samples.  I am experimenting with gold threads within my work.  I am impressed by the texture within this work and I am looking at developing this into my lion work.  It is very representative of a lion.   The lion here represents revenge. The lion is medieval and is a great scale for the costume.

The deer is also evident in this narrative (G.O.T) costume design is a subtle way to reflect the tale.

The use of red is drastically different from the pallet I am choosing to use.  Royal red is represented and I wish to use blues to move from kingdom to godliness and saints.