2.2.5 (LIVE) Composition and Sample Development

Composition Designs

When designing my compositions for this project I have put more emphasis on Photoshop, as it gives a clear indication of colour and how the warp and weft will react with one another. Within this project I have been focusing on colour and colour merging (such as the Wallace Sewell silk scarf's) Photoshop had been essential in the investigating and experimenting process. For the overall composition and proportions I have found it easier to simply work on graph paper. By using these two new methods I have been able to create compositions quickly and with accuracy. I would like to develop this use of Photoshop into my next project and see if it helps in other ways to create designs.

Although I am happy with the current range of samples that I have is still development that can be done. The colours need some reworking, looking back at Wallace Sewell's work and rereading the brief I will, in my final samples, increase my weft colours to the maximum of eight. The dominant colour I have been using so far I brown but after researching I have decided to change it for brighter colours such as blue or green as this will match much better to other collections by Wallace Sewell. In the tutorial it was highlighted to me that I need to start thinking contextually, thus I will make my final samples bigger in order to give a better projection of, not just the bordered of the scarf as I have at the moment, but the rest of the scarf too. 

Developed Samples

Another factor that I have experimented with is the finishing of my samples. Initially I wanted to felt all my samples but as I dyed all my own yarn my attempts were fruitless. I then moved on to simply pressing, then washing and pressing but still the finish was not quite right. After a tutorial I was recommended to pin dry, this technique has worked very well as it keep the sample tight and thus helps to stop shrinking distortion. Next I chose to brush all my samples as this gave them an overall subtle soft feel, that makes it feel like a fashion fabric especially a scarf.

2.2.4 (LIVE) Initial Samples and Research

Initial Samples

The first stage of weaving for me has been to lean how double cloth works and to test different four shaft structures, the results have been interesting; I have learnt that less is more, as too many structures combine with the complex warp give a haphazard and messy look to the design. I have also learnt the different ways of alternating the warp, horizontally, vertically and the alternate patterns the warp can be brought up in. In conclusion to my testing I have decided to use only plain and twill weave while making my samples and experiment with the combinations of double cloth to add an element of complexity.

Nancy Middlebrook

To help me design my samples and stretch the technique of double cloth I have researched a number of artists and designers; two of which stand out for me are Nancy Middlebrook and Melintre Gwynt. I really like how, in both their work, the general structure of the fabric is very simple and the detail is created though the use of colour and proportions. The way both the designers use kind of geometric/ block patterns link back wonderfully to my initial painting and inspiration source (Lyonel Feininger's Barfuesserkirche I). I am eager to interoperate Middlebrook's use of graduating blocks into my designs and Melintre Gwynt's use of odd yet patterned blocks.

Melintre Gwynt

2.2.3 (LIVE) Creating The Warp

Inspiration for my Warp

When designing my warp I reviewed all my research so far, contemplating both Wallace Sewell's samples alongside the colour strips I had created from Feininger's painting. One Wallace Sewell warp that I was particularly inspired by was one from there silk square collection, the random accumulation of stripes differing in width constantly alongside blocks of colour. The advantage of this complex pattern, as shown by Wallace Sewell, is that only simple weft colours are needed, large blocks of colour are overpowered and embellished by the warp. 

A Painted Plan and Yarn Wrap of my Final Warp

My final warp plan (above), I feel has embodied all the elements I highlighted. There is an uneven yet controlled variation of stripes, the colours appear random yet are carefully planned to relate directly back to Feininger's Barfuesserkirche I and Wallace Sewell's use of highlights, lowlights, and tones. To get these perfect colours I have chosen to dye all my yarn, the yarn I have selected is Pure Wool 2/36's as it is natural and its fine quality. After studying Wallace Sewell's threading and taking Barfuesserkirche I's use of blocks into account I have chosen to make my warp double cloth, and thread up on straight blocks (below). 

Threading and Warp Plan

2.2.2 (LIVE) Lyonel Feininger

Lyonel Feininger, Barfuesserkirche I, 1924

Following Wallace Sewell's brief I searched out a painting, I settled on this one, (above) Barfuesserkirche I by Lyonel Feininger. I chose this specific painting as it has many appealing properties, its use of highlights, lowlights, and tonal shades harmonised perfectly with that of Wallace Sewell's pallet while maintaining interdependence. I found it also held great colour combinations the way they were placed together and the proportions was something I am keen to extract. Also the dominating straight lines and sectioned composition of this painting are features I can see easily and effectively translating into a woven sample.

Colour Strips

To help me analyse this painting and pull out all of its colour combinations as well as its proportions I decided to paint numerous colour strips. I cut a printout of the painting up; lengthways, widthways, and diagonally, to gain different perspectives of colour. The result of this undertaking has been very fruitful as I now have ample amounts of colour work to inspire both my warp and weft.