What have I learned from observing and developing materials and textiles?
- The importance of tone, value and saturation in conveying a likeness, or an altered version of a subject.
- The importance of lighting on colour perception.
increased confidence in selecting colours from subjects
- The value of imposing constraints when selecting a palette to work from, lending a particular mood/feeling/cohesive look to a piece.
- Adding proportion and texture to a colour palette with linear media, and how choice and placement of colour can enliven a palette.
- The usefulness (and limitations) of using software to alter, or select a palette, from an image.
- How to analyse and reproduce perceived colours in an image/composition using various media.
Strong points of my work
Accuracy of selected gouache palettes derived from textiles; the extended stripy textile in gouache; and some of the collage and yarn wrap work (as selected for the book). See also Summary of this article.
Weaker aspects of my work
General sloppiness, eg, with labelling, smudges on white card etc. Painted gouache was too stripy and not opaque. Numerous attempts to mix correct colours in gouache samples. Tendency to exaggerate colour saturation. Watercolour studies of glass composition showed a lot of mixing between the stripes of colour.
Working in gouache for the first time, producing opaque, flat colour was a challenge. The yarn wraps were a new exercise for me. I found them useful in representing colour, proportion and texture.
Potential work in future based on this project
I have started to analyse some of my ‘images for inspiration’ to generate colour palettes for translation into paint and textiles. I am working on an image of fishing crates on a harbour wall to be turned into an abstracted image.