'Lucent Voiles' (Digital Outcome)

The Lucent Voile collection stemmed directly from one experimental drawing. Susie McMurray's work had qualities that reminded me of a Fern leaf. Inspired by this I approached my response by depicting the direct fern form. Using spray paint I could grasp the negative space with precision immediately. Working directly in front of a window I could highlight the areas of negative space that worked best to balance the drawing.  I imagined from the initial drawing stages these designs only working on a large scale. The use of the projector played a key role in envisaging the drawings to a scale. Whilst drawing I could immediately see the print as a whole. Hanging and Flowing with light flooding in between the shadows of the leaves. As a collection I wanted them to be tonal, they breath a build up of negative space to create the imagery. Colour would only interfere with the tonal variations, when drawing from the direct form, it was simply a case of revealing the organic structure. Using a colour palette at this stage would counteract the tonal balance. 

First Drawing

To build the collection, Its important for me to create an entirely greyscaled group. The high graphic qualities that the lead drawings provide, lends the corresponding prints into providing a heavily tactile feel, in order to balance the feel to the group. Throughout the drawing and idea stage of this unit, I was really interested in using Fur to experiment with,  having sourced a considerable amount of samples from Zinc at Chelsea Harbour. After speaking to the print technicians it seemed impossible to experiment with it within the print room, in regards to manmade/natural fibres and the implications it holds. However using imagery of fur within a digital collection, still gives off the impression of a heavily tactile surface, however in a more innovative way, by remaining two dimensional. For this collection I am envisaging it holding designs with high graphic, loose drawings. Balanced out  with a range of intensely manipulated fur prints.

It is really important to me that this collection remains tonal, unlike the 'Chalet' collection, it is not just about creating an atmosphere within in a room. It is more about showing off the drawing qualities and recreating the organic nature of the original structures through line and tone. I want the ability to layer and build the prints to gain a more intense view of the work, fabric choice is particularly key in order to express this. Having fabric sourced and market researched I am currently thinking about printing on a variety of Voile like materials, see through, to allow me to build the prints. Cotton Voile and Silk Georgette I am currently considering. Again fabric testing is the next stage once the prints are finalised.