When initially being given the brief I did think it was rather broad, it allowed us to choose an area to explore freely. However looking back, if it was more specific I probably would have found it easier. Then again, this would not have been quite so much of a challenge.
I initially started with three opposites, ‘Delicacy: Crude’, ‘Tiny: Massive’, ‘Deliberate: Coincidence’. A mistake I made in the beginning was sourcing a lot of my visuals and inspiration from books, I chose images I like because of the juxtaposition they held when put together, however when Christmas came I still was hanging onto these images and I have found it hard to move on with my own work. Admittedly I should of thrown myself into my work at Christmas and not put it to one side, I sort of ‘fell out’ of the flow and this term I have found it hard to get back into it.
Within the project, so far I feel that I have managed to experiment with more of the university’s facilities. Within ‘Sleuths, Spies and Lies’ being new to Manchester and the university I wasn’t confident in the space or place I was living. This project however I have expanded my knowledge, I rented an SLR camera from the AV store, worked out printing onto tracing paper and acetate, discovered the Whitworth gallery and the Manchester Museum. I also have been better at gathering relevant materials. I have put to use the practices I have learnt in the embroidery workshop making relevant samples to my work. I do need to be more conscious and aware of time, I feel I have let myself down by not throwing myself into my project over Christmas, I would feel stronger within it if I had done so.
Selecting intermediate embroidery has allowed me to use the machine as a tool for drawing. In my project, it is incredibly important that I explore the detailing and opposites within the face, enlarging these and working with the machine has been crucial. I have also been able to explore further areas of embroidery such as, the princess pleater which has only strengthened my project.
I have come to a particular sticky area within my project, I have needed to hone in my ideas and edit my workings. Within my sketchbook, you can see my progression, but sometimes I feel my mind is moving much faster than my sketchbook, and I get lost. I have managed to move on from my original opposites and I have narrowed down my focus to just the opposites within the face. I felt that my colour palette was not working; I needed to eliminate the reds and oranges and just stick to neutrals, as my work was much stronger. I also need to collect my sampling, really focus on the best qualities, and push forward with those. Elimination and direction is key now.
Gathering all my samples I can tell the qualities that are relevant and that I have been looking for within my project. I have been much more selective with materials and meticulous with processes within the second project. If I were to start again I would have been more focused on what the project was actually about, I would have pinpointed a topic rather than chosen such a broad outlook. I thought it would create more options of sampling but it has only made it harder to focus.
I have really realised the need to throw myself into a project and not forget about it for a period, I made that mistake over Christmas, it has set me back but I will not make it again.
mix up of observational drawing, cut up asatate images and drawings of sampling. All in response to my subject. 
exploring the contours and lines of the face through drawing.
observational study of enveloping fabrics in order to reflect the lines created within the face through age. 
Experimentation with photoshop on primary image, opposite of fresh, younger skin below
experimentation with cropping the face to show intensity on certain areas. and focus. 
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