Weds 15th february - Life Drawing

I attended a life drawing class in order to infrom my Subject matter further. It helped expand my observational drawing and knowledge of the differences within skin. It gave me a wider view of  the varying ages of skin. The life model was a female round 28 years. I am really pleased with some of my longer drawings completed. Towards the end of the session we did two thirty minute drawings, these are the most succesful becasue i could focus more and turn my attention to the areas of the body where the skin was meeting and beginning to distort itself, creating amazing enveloping shapes, closing resembing the way fabric moves and holds itself.

asatate image weaved into warp, using a weft of wire.

ill

At  beginning of workshop four,  I came down with a bad bout of flu and tonsililtis, setting me back a fair amount in the set up of my loom for weave. Having come back feeling a lot better and coming in everyday for 2 weeks 9.30 to 4.30, I have caught up.

Im really pleased with the weaving i have done, although a slow process the result are great. I have found it hard interlinking my subject with the workshop of weave, and machine embroidery flows much better with it. Although i feel that my subject has allowed me to 'think outside the box' within weave. I havent stuck to the ordinary. I feel my most succesful sample is where i have printed one of my images onto asatate, cut it up and weaved it in to my warp. Using a weft of wire, it has allowed me to manipulate my image further. I used the young face within this sample and the warp threads running across the face almost disguise it as being old. I have tried to create an opposite and play around with the face, and identity.

Moving on

At this stage i felt it was really important to source my own images of the subject of age. I needed to classify the opposites i was looking at, and gain some observational images first hand. I used photoshop to manipulate the images i took. Working with a monochromatic colour palette, has really helped me identify contrast and line. I desperatly needed to focus on this in order to start sampling, and working with the lines of the face. The two faces i chose i feel represent a vast difference, not only are they 45 years apart the skin, the neck, the way the eyes are held in the sockets are beautiful on both parts. I have started sourcing materials that I wish to work with in order to sample in response to my images.
Muslin, Jersey, Scolatta cotton and Silk cotton Jemima are some of the fabrics that I feel will work well. The light and grainy textures will work as a good base and the jersey will be easily manipulated.

Project 2. Brief

I wanted project one and two to flow within my sketchbook. So the transition would be more of a thought process rather then a change in direction or task. Having decided to redirect myself and refine my colour palette i decided my brief would be

'Fully hone in my ideas and focus on key elements of the opposites within age of the facial features. Refine Colour Palette and strictly stick to it on order to show maturity and growth within sampling.'