2.1.4 Defining Colour

Initial Colour Pallets

To being my colour refinement I made a number of yarn wraps inspired by my drawings and Photoshops, I considered proportions, texture, and pattern. My initial selection of colours was rather bright, and during a tutorial it was highlighted to me that more subdued and earthy colours would reflect my theme of natural texture better. My final colour pallet contains a mixture of calm natural colours alongside a few brighter more vibrant hues. This resolved pallet has been made from lambswool yarn due to its speckled multi-tonal appearance, this appearance also matches my visual research with high amounts of tonal change and constant subtle texture. During my weaving however I would like to incorporate mercerised cottons or shiny synthetics to brighten certain sections and to add depth to my work.

Final Colour Pallet

Warp Yarn Wraps

Feedback from my tutorial has also guided my in my warp design; as there was lots of clear space and multiple varying colours in my visual research I was recommended to develop a plain warp. Once again using lambswool I develop a number of different warp compositions, but settled on a consistent pinstripe half and half warp (bottom image). I feel that this slight amount of colour will be very effective and give subtle pattern to all my woven pieces.

2.1.3 Pattern

Hand Drawn Patterns

As I have chosen to specialize in weave pattern will be an important element within my fabrics. Inspired by the intricate simplicity of the Downing Archive and MMU Special Collection printed fabrics I have produced some of my own patterns. I have simplified chosen forms and naturally reoccurring patterns from visual research studies, in accordance with those of the achieve prints. These patterns I believe can be translated into my weaving though a combination of floats and traditional weaving structures. Some will take more time to develop than others, but I am confident that by the end of this project I will have successfully designed my own weaving pattern and incorporated it into a sample.

Digital Pattern Designs

Another way I have attempted to derive pattern from my studies is with the use of Photoshop. In the past I have found repeating and altering the scale of a drawing can completely change the way it is seen and can highlight consistent elements that may otherwise go unseen. I have constructed these patterns (above) by tiling a single image that has been reflected, both horizontally and vertically. To experiment more with my studies I have cropped down or selected interesting areas and as a result it has given me many different patterns and forms to work with.  

Developed Digital Designs

My final means of experimenting and creating pattern have been to combine designs; during this process I have altered the hue and saturation, giving me vibrant colour ways that I am keen to use in my wefts, and I have begun layering designs. By layering and utilizing filters while editing my digital patterns it has widened my colour range while also providing me with possible warp layouts. I have also integrated my hand drawn designs, by doing so I have gained a better understanding on how to construct them and, naturally, how to use then within samples.  

As my colour range has now grown rather large and I have begun to consider warp and weft layouts my next area of inquiry will be to solve this; to find a defined colour scheme and to develop a suitable warp. I would also like to further develop my patterns; by working with my digital designs and extracting shapes from them, alongside more visual research delving into the idea of natural texture. By doing this I can create more individual and original patterns.

2.1.2 Archive Research

Manchester Museum Pieces

For me this week has been a defining week; I have been able to develop and refine my concept and gather ample amounts of visual research. At first I was confused by my chosen brief, 'Future Past', and was unsure how I should integrate my summer work, after discussing with a tutor I was informed that the main focus of this brief was to use archive and historic collections as starting points to fuel the ongoing project.

As I've begun to direct my work towards nature and the natural world I chose to visit the Manchester Museum and its multitude of collections. My visit was rewarded with many areas of possible enquiry; I am particularly spellbound by the minerals, rocks, and fossils on display. The variety of colours, forms, and patterns is overwhelming, and after I produced some fist-hand observations I see potential for translations into weave through both pattern and texture.

Observational Drawings

Along side my visit to the Manchester Museum I have also been researching natural textures with the help of the library and the internet. The books 'Fossils in Colour' by J. F. Kirkaldy, 'Fossils: The Key to the Past' by R. Fortey, and 'Rocks, Minerals & Gemstones' by W. Schumann have been tremendously helpful in both the scientific identification and presentation of natural objects. I have also found the website of the Natural History Museum, London to be a useful tool in discovering the ways in which rocks and minerals were recorded in the late 18^th to early 19^th century. All this research has influenced my work though the use of media, grounds, and compositions.

Artefacts from the Downing Archives and Special Collections

During this week I have visited a couple of specifically textile related archives, the samples of which I am highlighting are from the Downing Archive and the MMU Library Special Collections. Even though my project has evolved into a rock, mineral, and fossil focused venture I was still intrigued by the archives. Seeing all the different patterns; with unique colours, compositions, and textures was truly exciting, I plan to use my favourites as guidelines when designing my own patterns once I enter weave and as starting points for further visual research.