Final Composition - Print One.

Development - print one.
- 'Transformation.'
- I've played around with this particlar concept for some time - with many different variations.
- One that i feel has been the most effective is featuring the woman with her head out of water - representing the hidden landscape - the whiteness to everything and a key role within the book. After testing a very basic version in lino cut (see Lino /mono-print further testing) I felt that I could really push it further.
The woman is representing the landscape - she's hidden beneath the surroundings. a lot of the novel is about secrets. a lot of events take place within the vast Vermont landscape. - none else knows whats gone on there - but the landscape has witnessed a lot. Wanted to bring this very important aspect of the book to life - like the idea that the landscape is 'alive'. - but also the fact that everyone else is oblivious to this - secret of her own.

exploring conceptual options;
- the initial idea - is still on of my favourites.- the idea of transformation is something that is key within that novel - its linked heavily with greek mythology and i was interesting representing the time when characters lost the sense of her they are - the longing to be free. I have chosen to display this is the form of a person transforming into a deer which is a greek symbol of…..
- other ideas include the murder. - showing the character being swallowed by the woman who is representing the landscape. - include hands/the undergrowth pulling them beneath. - quite successful but content too similar in other designs?
- All of these themes would work at the beginning of the sequence. - the other two prints could easily develop forward from one of these points.
- For me the transformation concept has stood out as being the strongest.

Aesthetics;
I really liked the contrast between the water and land in my previous test - wanted to keep this separation, yet it somehow felt too clumsy? - the lines used to separate were too bold - felt unnatural?  - i think  perhaps create more details within the lino which will break it up more naturally. - in working on a larger scale it should be easier to get these details onto the lino also.
- Consider different kinds of lines - to represent different aspects - i.e., the water, the hair, the face. - all in danger of being too similar - really think about how each could be shown.

Sketches and Development & adapted for lino;