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.