Also in the notes was a picture of the Blue Nymph by Alice Kettle which you can see on this great blog i've just found here.
When I looked at the image I thought I'd like to do something similar in Photoshop, the relevance of which will be seen at the end of the chapter.
2/11/1
2/11/2
The starting point for our exploration of using the figure as a design source was to develop some quick sketches of people in an open pose, therefore giving a more interesting pattern to the body shape. I decided to use the RHS figure on the top sketch book pages (2/11/1)
2/11/3
The sketch was then minimised to a simple line drawing where the extremities touch the edge of the paper. The lines were then
cut and the the pieces were placed on a contrasting background with a small gap between all the lines.
2/11/4
Gradually pieces were removed from the design to see what effect this had and also how few pieces it needed to keep the essence of the pose still detectable.
2/11/5
2/11/6
2/11/7
2/11/8
In this last one you can see that all traces of the original pose are just about gone.
2/11/9
The next step was to add a colour and texture element to the basic design, keeping the shapes and movement still within the new designs. I really enjoyed this part and was very surprised to see just how much variety I could generate from such a basic set of lines as a starting point.
As I mentioned earlier my final design exploration was done in Photoshop. I was looking for ways of portraying the fluid lines that Alice Kettle achieved with Blue Nymph.
2/11/10
I started with this picture of an embroidered bookbinding worked by a nun in a convent in Suffolk in the 14th century.
After various filters, morphing and air brushing, all of which has been documented, but would be very time consuming to blog, I came up with this result that I was very happy with.
2/11/11
I really like what you've done in 8 and 9. this is an interesting process.
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