that I was happier with...
I think so anyway, there is a danger that the more you refine something the less spontaneous it becomes. Although there are faults in the sketching of the first one, I think it may show more character, just by not being symmetrical.
The more I work on this project, the more issues it seems to uncover.
For instance, does having an open-ended time limit for completing a project take that energy away from it when the deadline approaches and there is a need to finish it, before the artist has time to reflect on and adjust the outcome?
The only thing to be said in regard to the above, in this particular case, is that it has enabled me to see what would happen if I reworked the portraits and which version I like best. I'm definitely leaning towards both originals, but the test will be to see how they look when they are stitched.
I've been able to work on the digital embroidery again lately and have finally resolved the design for the ladies pulling the rope.
This has been worked on a nylon sheer, not organza, as it's too expensive to experiment with on a full size piece. As you can see the rope isn't in quite the right place between the first and second lady, I need to rework the digital design and resolve the registering issues when multi hooping the work.
As I can only fit 3 ladies into the width of the panel, and retain the scale, I returned to the idea of mixing loose hand stitched figures with the machine embroidered ones. Janice very kindly suggested a mix of different styles on a comment she left on one of my posts.
I'm not sure if they work, or considering that this panel will be behind 2 others it may be able to sustain the void at the top.
Or maybe the hand stitched figures need more attention, they were very roughly done as an experiment.
Which brings round to the tangential experiments I have been working through as a result of trying to get the pose of the 3'rd lady launcher in the rope line up correct.
I discovered a brilliant book in the library Practical Anatomy for Artists Peter M Simpson in which he refers to " The inside out approach....." to figure drawing. This involves drawing the skeleton first, then the muscles and finally the body contour.
I've found it really reassuring to have the that 'scaffolding' in place before sketching the figure and it will be very useful in the future for drawing figures from memory or from imagination, something I've always wanted to do.
The above sketches are taken from the book, and the one below is an experiment using the technique on a photograph of my son.
I'm looking forward to working my way through the muscle section....
I appreciate that this is a tenuous link to the work I'm doing on this project, but it did come about as a result of difficulties in getting the shape of the figures correct. This is an avenue I wouldn't have had the luxury of exploring If I'd been working to a deadline.