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.