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.

2.1.1 Inspirations Workshop

Summer Drawings

I found the peer review I received in response to my summer work the be highly formative, key themes and direction was highlighted in my work and many possible areas of exploration. I was told there was a good variety of techniques within my drawings, but areas to develop and venture into could be; experimenting with different grounds, combining techniques, and producing some drawings on illustrator or photoshop with focus on line. Also exploring different scales when I draw was recommended, zooming into past drawings really changed the feel of the piece and displayed new textures, colours balances, and gradients, all aspects that could be redeveloped into my work.

Form in Nature and Life, A. Feininger

The most important feedback I received, I feel, was direction on my overall concept. Even though I had centred on Stacking for my summer work I did not feel confident enough to continue with it, my peers upon assessing my work felt that my nature inspired drawings were the most successful, containing the most colour, pattern, and texture. Guided by this new subject I went to the library to discover more about the possibilities and found 'Form in Nature and Life' by A, Feininger, a book filled with nearly all the artistic elements from nature. This book alongside my new Pinterest boards has inspired a new line of enquiry for my oncoming project.  

http://www.pinterest.com/brontemorgangeo/natural-texture/

http://www.pinterest.com/brontemorgangeo/aerial-nature/

2.0.2 Influences

Margo Selby

Margo Selby's designs and products appeal to me in every way; the colour, pattern, and texture are all unique and versatile at the same time. Her products are vast ranging from wallpapers to rugs and shoes to bedspreads, this immense list of creations is so inspiring. Trying to specify what I would like to specialize in is awfully difficult, skill-wise I am choosing weave. Selby has opened up the floodgates to where weave could take me; rugs, upholstery, clothing the list feels endless. Selby's designs are made on both 24-shaft and Jaquard looms and with the help of her extensive training in woven textiles, as an admirer of her work I thirst for the same skills and the ability to create contemporary initiative designs. Once I graduate I would love to take a similar adventure, experimenting with many different options for my weave designs, alongside selling to or designing for major retailers. Margo Selby has created her own brand but also sells and designs for retailers such as John Lewis, Achica, and Habitat and is considered not only a weaver but an entrepreneur and business woman.  

www.margoselby.com

Maggie Levien

Although I am not a huge fan of Levien's designs or use of colour, I do admire the way in which she became a designer and the steps she took. Nearly straight after graduating from Manchester Metropolitan University she worked for Osborne & Little, working for a well developed firm is what I would like to do once I leave uni. By doing this I believe it would give me the chance to develop my skills within the work environment and it would allow me to learn about the ins and outs of industry. Levien has also worked for prestigious companies such as John Lewis and Sanderson, after setting up her own brand, I long to work for brands such as John Lewis and develop a distinctive and desirable collections like Maggie Levien has.

Lucienne Day

Lucienne Day for me is truly inspirational be it her designs, social influence, or work ethic. Although she is widely known and very popular there is no better example, for me, of a designer. She was hugely influential; an original designer, in a time when many women didn’t work, she made modern designs for mass markets, and experimented endlessly. Specializing in print Day used aspects from weave throughout her work, and some of her designs were later made into woven fabric, it is this close relation with woven and printed textiles that interests me. Although I am specializing in weave I would like to continue to make printed designs along side my collections and Day's work expresses one possible route for this practice.

2.0.1 Cultural Activity

Manchester Gallery

During my Brake from university I have visited a number of museums and galleries, to give me both a varied understanding, and the ability to experience contemporary and classic practitioners. I have visited; The Museum of and Science and Industry, Manchester, Museum d'Histoire Naturelle, Le Havre, and The Guggenheim Museum, Blibao. But have found the most inspiration closer to home in the Manchester Gallery, I was really inspired by the different ways artist had grouped materials and objects together and the massive difference there choices made. I have chosen these images (above) as I was particularity attracted to the care and detail taken with each component combined with precise mathematics, it has made me think about the ways in which materials can be selected and interoperated into my work, whether it be using typical or modified components.

Lisbon

While on holiday I visited many different countries but Lisbon stands far above the rest. Finding a few key images form Lisbon is impossible, being one of the oldest cities in the world and the largest in Portugal with important roles in finance, entertainment, art, and trade there is food for the eye everywhere! There are no buildings or streets the same, each building be it new, old, or falling down is beautiful in its own right. While walking round the city I felt that each building was complemented by the neighbouring structure, space, or even the decorative footpath. Art flows through the capital, with street art redefining the wasted skeleton buildings and tiles that lighted up even the most sinister alleyway, colour and pattern are rife in this land. Lisbon for me was an entirety of inspiration. Revelation, enthusiasm, and incentive was received at every corner. Seeing how one could never find the 'best part' of this city artistically, shows me how important each and every piece that is inserted into any kind of artwork is. This enlightenment on the combination and use of materials is something I am keen to monitor while I design and make in the future.

Guernsey

Amidst my travels I visited St. Peter Port the capital of Guernsey part of the channel Islands. Although the architecture was delightful it is not what I wish to highlight Guernsey, although not part of the united kingdom, it is a possession of the British Crown and thus shares a lot of similarities with England such as it telephone boxes, post boxes, and currency, but with a slight twist. I was rather fascinated and excited by the different colours Guernsey used and also how its currency looked different (but was that same) to England’s. It is this 'twist' on comment objects that has captured my imagination, it has made me think of all the 'ordinary' ways pieces in art, interiors, weaving ect. are selected, and how they could be changed. Even the slightest change, such as colour, makes a huge difference. What if the texture, finish or pattern was slightly altered, I am mesmerized by this way of thinking and am eager to interoperate this experimentation into my work.

1.3.11 Concluding Samples

Concluding Samples 

These two final responses, to the Unit X Fairgrounds project, embody collaboration using aspects from both stitch, weave, and print to create there structure, texture, and pattern. In conveying my theme collaboration have been vital due to my multi-themed direction; looking at both thrill rides and the reactions experienced. Stitch has been the foundation for my structural side creating both flowing and robust designs mirroring that of the elaborate thrill rides. Although initially I struggled with weave once I began to experiment with off-loom techniques I immediately saw the potential for texture that resembled symptoms of fear such as itchy, stiff, and Piloerection (Goosebumps).

By having this focus on collaboration within this unit I have learnt a lot about both weave and stitch and the ways in which they can be combined. This focus has been liberating in many aspects, as it has made me see "outside the box" by becoming more experimental in creating samples; not keeping to a strict method or technique. For example I feel that a lot of my textural work contains off-loom weaving through straight line embroidery that reassembles that of a warp and/or weft. I would like to develop this use of collaboration into future projects as it gives me the ability to diversify my work while remaining close to an initial brief.   

Final Inspiration

Above is a collage of my inspiration for these concluding samples; gathered from throughout this unit and all well developed; with influences from designers Matthew Shlian and Mika Barr.