Colour matching Gouache studies (3.1) Part Three

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?

Colour matching Gouache studies (3.1) Part Two

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.

Farnaz Jahani

The Interrupted Beauties   Viewed 23 November 2017

This visual artist comes from Iran but now lives in the US. She employs surface design in her work and cuts and compresses work to create some degree of ‘accidental aesthetic’. 

The idea is to represent the vagracies of life and its fractured path. 

As I am doing the colour section of this unit I’ll comment on the colour use in the above work. 

The use of a quite bright and pure tone palette of blue, red and green contrasts with the background brown and serves to highlight the broken lines down the work. It results in an imperfect irregular edge not unlike the Ikat weaving in my kimono. 

Colour matching. Gouache studies 3.1 Part One

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.

Research Point 1: Colour work of Textile artists and Designers

Voyage Decoration

Marimekko

Mary Katrantzou

Wallace Sewell

Viewed 7 Nov 2017

Viewed 7 Nov 2017


Viewed 7 Nov 2017

Harriet Wallace and Emma Sewell create woven scarves and throws. They have many projects illustrated on their web site that show their methods of colour choice. They take inspiration from the distinctive colour choices in the work of other artists as above, as well as directly referencing the environment to facilitate choice of proportion and colour.  These woven textiles are put to functional use which is something I am very much drawn to. Here they are created using artistic design making, as works of art but then sent out into the world to be worn or sat on or to protect book pages, in a way that has a greater impact on the lives of others, compared to a painting in a gallery.

They are not preserved and protected, but instead used and worn out eventually, to make way for new work.

When I get home I’ll try and remember to insert a photo of the bus seats in Hobart. The fabric is particularly disgusting and I’ll see if I can analyse why.

Cole and Sons

Norma Starszakowna

Paul Smith

Viscous

Ptolemy Mann

Liberty Prints:

Before I came to the outback I looked ahead through the course materials and I saw that I needed to bring some printed fabric to use for colour palettes. While I was in Melbourne I went to a fancy fabric shop called Tessuti fabrics and bought five Liberty Print fabrics. The Liberty company was established by Arthur Liberty in 1875 and was initially a homewares shop dedicated to the popular oriental theme but subsequently branched out to printing the famous liberty prints in England. The prints are an English made product that initially took inspiration from the orient. 

https://www.libertylondon.com/uk/information/the-store/store-heritage.html  Viewed 7 Nov 2017 for some of the information about Liberty.


The fabrics I chose from the Liberty collection to bring with me. 

Lisa Solomon

I came across this artist on textileartist.org which is a great site for all sorts of interviews and information on textile artists. I was looking for knitting and crochet artists because I’d like to think about using knit or crochet as a substrate for some of my work. I’m often thought of also using weave but I need to get past my block that I have in regard to weaving. It’s just the set up and the more complicated equipment used. I balk out even getting my loom out, in contrast to the ultimate simplicity of knitting and crochet – a circular needle or a crochet hook and yarn and I’m ready to create. 



 Images from  http://www.lisasolomon.com/index.html.   Viewed 28 Oct 2017

This example is not actually knitting or crochet but embroidery, but turned out to be my favourite. Her crochet was mostly doilies and not what I was thinking of. I’m looking for a way of crocheting or knitting an organic substrate to further work on. 

Knit Weave Stitch


Tried out this idea in the sample above. First I knitted an open weave and then I wove the same yarn through in two directions. It’s a bit messy but it did give stability to the knit which reduced stretch and lying flat. Pretty much what I was after in terms of thinking of knit as a substrate for further textile work. 

The smaller sample is an example of linen stitch with a couple of variations through it. Linen stitchis what I came up with when I researched for knit stitch that looked like weave. This is a great stitch that produces a fabric that is more flat on the surface and doesn’t curl. It’s a bit time consuming and could be stiffer than us sometimes useful. 


Here is an example of linen stitch with self striping yarn and using a needle size ranging from 4 mm/5mm/7mm/8mm. Couldn’t find any sixes😕.

The resultant fabric is flat and soft. It becomes more open weave as it gets larger but would still be useable.