The neutral square was probably a bit too even for this exercise, but I did include a couple of washes of different colours to try and add subtle depth and variation. I was pleased that my partner thought I had just painted straight over the fabric square 🙂
Only a small number of testers this time. Really was only shades of one colour used and most of the decision was made on the palette. It was quite difficult to get the subtle colour right but I was happy. This is a piece of raw silk that I had brought with me for dyeing. Who knew it had so much colour in it?
It’s been about two weeks since I’ve had reliable internet as we had the internet out for a week in the outback and now this last week we are travelling home. I’ve been working through the practical work but need to catch up a bit on writing up.
I was pretty please with how this turned out. The biggest challenge and point of difference here was the black. I tried to make black out of colours rather than using the black from the tube and although the colour produced is black, it has quite a different character to the rich black printed on the fabric. This fabric is actually a charity bandana, chosen at the local roadhouse for its graphic blocks of colour. The Liberty fabric would have just been impossible for me to extend.
Once again I’ve just saved all my testers with the right one in there somewhere. If I’d been sensible I would have marked which one I thought was right but now I’ll have to go back and rematch when I’m assembling my book. Sigh.
I found this an enjoyable activity. I noticed that I sometimes had to go back and change my paint after I started to paint on the paper as close proximity to the fabric really highlighted differences that I couldn’t see prior to that. I felt that I could see what colour was needed to correct but I would often then overshoot and go back and forth a few times before I could get it right. This exercise has taught me a lot about mixing colour and the use of complementary to move colours away from just pure vibrant colour, (which I do love), to a range of more subtle colours. I’ve discovered that even colours I would consider bright, are often nonetheless tempered with the complementary.
I’ve been looking a colour a lot and spent a lot of time in the outback analysing the colours of the landscape and the sky, with a view to using that palette in future work.
Started on my colour matching fabric with gouache today. Took me ages to do the first one but it was fun.
Had some ideas about other colour matching that I could do in parallel. I want my book to record the colour palette of the landscape here as well as the other palettes.
Thinking about crocheting or knitting small colour squares out of the silk thread I have been dyeing while I’m here. Then I could place them on a piece of pater and extend the squares around in the same colour gouache paint. Same with some of my dyed fabric. And finally I could use the landscape palette by directly making chips in the outdoors- green dirt, green leaves and blue sky. I’ve also taken some photos dedicated to the colour and I will take some more. All the fabric I’m dyeing and the yarn and fleece I’m dyeing is in an attempt to capture the local palette and also have the raw material to create an artwork in this central Australian palette. Possibly I will use this to make an “Ebb and Flow” themed quilt for the Tasmania Art Quilt prize next year.
I’d also like to digitally colour match in Adobe draw for my digital sketchbook.
I brought some Liberty fabric with me because I knew there would be no fabric shops to pick up some fabric. I had a great time in Melbourne going to Tessuti fabrics and selecting some patterned fabric.
I chose the far left fabric to do my first colour matching exercise. It was much tougher than I anticipated and I kept seeing extra colours in it.
It took me all these chips to get the correct colours. I haven’t got around to cutting out the correct chips yet but I will post when I have sorted. One thing I discovered in doing this exercise is that all the colours that I thought were bright colours, were nonetheless muted down from pure single colours by the use of some complementary.
And for the neutral fabric I used a piece of vintage silk. There were a range of colours to be seen created by the shiny or flat texture or the raised stitching and shadows.
Lots of swatches here because I struggled to decide what the hint of colour was in the shadows. In the end I decided to add a bit of green, the complementary of the pinky yellow cream of the unshadowed areas. Once again I haven’t yet cut out the correct chips but will include them once I have done that.