Reflection on Formative Feedback for Textiles 1: A Textiles Vocabulary: Assignment 3

Formative Feedback from Cari, my tutor, followed by my reflection.


Overall Comments

A playful, varied and well-crafted body of work.

Research (including sketchbooks and samples)
Context, reflective thinking, analysis, Demonstration of technical and Visual Skills, Demonstration of Creativity
Your research throughout this module has been meticulous, from your initial analysis and deconstruction of what the section entailed (detailed in your blog) to your detailed colour mixing and careful crafting of your collages.
You’ve balanced this carefulness with some lovely playfulness. I love your response to ex.3.1, pt.2 where the stripes emerge from the frame of the fabric to meander out towards the viewer.
The yarn wraps are also really enticing – there’s a great range of textural, tactile and surface qualities in the wraps. Fibrous yarns sit next to matte and glossier surfaces, which creates a varied, dynamic aesthetic. You’ve carefully translated the colour proportions of the painting, using both traditional and non-traditional materials.
The accompanying tables where you record the material quality and source of the yarns are great – use a similar approach in future to record the ‘technical’ information, so you have a good technical resource for future inspiration.
Your handling of both the gouache and watercolour is careful and your colour mixing generally very good. It’s interesting to read your comments about the effect of the light on the accuracy of the colour. Your crafting is consistently careful with all media and processes, with your collage studies particularly well crafted.
The collages (ex.3.4) are varied and playful. You have thoughtfully translated shape, form and colour information into the 2D collage. Your use of materials to capture the different surface qualities was particularly pleasing (e.g. the glossy surface of glass compared to matte linearity of yarn). Collage #3 was ambitious but the result is really effective.
I particularly liked your translation of the Bali image into textile samples rather than flat swatches of colour.
You’ve matched the colours in found fabric samples well but they also match more than the colour – the tie-dye and diffuse colour of some samples has a sense of tropical holidays, which fit the exotic plants and acid brights within the image.

Learning Logs or Blogs/Critical essays
Context, reflective thinking, critical thinking, analysis
The blog is consistently well laid out, with a good number of suitably sized and appropriately collaged photos.
You use photography well to capture different aspects of the work, e.g. for collage #2 you zoom in to capture an abstract section of colour and shape, which could be translated into a beautiful textile design.
In your contextual research, you use detailed, descriptive language to critique artists and designers use of colour and demonstrate your understanding of colour theory through appropriate use of key terms, e.g. optical mixing.
Your summary succinctly states what you’ve learnt from each designer/artist. Similarly, your review of the colour palette generators was suitably critical, both the functionality and ease of use.
The learning log clearly details the development of the work, with evaluation of successes and weaknesses. You continue to use descriptive language well to explain what you see and the connotations of colours. (e.g. “The strong contrasts gave the resulting palette quite a dramatic look, with the green and yellow adding a feel of early spring – like glimpses of green shoots and primroses on a grey day.”) Your summaries at the end of each post sum
up the work developed but are most insightful when you reflect on what you’ve learnt, e.g. the importance of tone in the collage section.
Your analysis of the yarns wraps focusses more on the process of creating the wraps and the accuracy of the proportions. I wanted to know what you thought about the overall aesthetic of wrap- how do the proportions of colours work together, do the different textures help or distract from the read of the colour, would the wrap translate effectively into textile designs? For example, I find wrap #2 less pleasing because there is too greater a difference in scale between the flat ribbons, the fibrous cream on the right and the gold braid. In contrast, I find #3 too consistent in scale. Yarn wrap #1, with its varied range of textures and surface qualities pleased my eye far more, there is greater nuance both in colour and surface quality. This is subjective, however, so I wanted to know what you thought about the palettes potential as useable colour palettes.

Feedback on assignment
Demonstration of technical and Visual Skills, Quality of Outcome, Demonstration of Creativity
Your colour book very simply but crisply presents the best work. You’ve been selective, careful to present only the best work, and the consistent presentation on a white ground means all the focus is on the work itself. The written descriptions are simple and discrete. Your introduction clearly articulates what you’ve learnt and why you’ve chosen these pieces. Well done! I like the cover but I pondered whether the title square could have better reflected the contents by using some aspect of an aesthetic contained within rather than the rainbow palette.
Your written reflection and self-evaluation against the assessment criteria are thorough and critical. I’m really looking forward to seeing how you develop your use of colour in the next two parts.

Suggested reading/viewing
– Here are a couple of artists/designers whose use of colour excites me:
o Sanne Schuurmann, especially her colour magazine:
o Margrethe Odgaard, particularly her Color Diary Japan:
o Raw Color:
o You may have seen this 1692 example of a colour book online but it’s worth sending again even if you have 🙂

Pointers for the next assignment
• Reflect on this feedback in your learning log.
• Ensure you reflect on the overall aesthetic / visual read of your work as well as on the technical aspects.
• Continue to develop colour palettes with gouache and watercolour using the methods you have in this module. Reflect on what mood they communicate to the viewer.

My reflection on the Formative Feedback, above.


Cari mentioned my thorough research (analysing the course and assignment work on the Learning Log (LL), and in the colour mixing and collage making. A playful approach; enticing qualities in the yarn wraps; good use of technical records; careful handling of paint, and colour mixing generally (!) good. Careful crafting in different media; variety in collage work (especially use of materials linked to surface qualities of source image); selecting appropriate textile samples for an image found in a newspaper.

The LL is well laid out and appropriately illustrated. The contextual research demonstrated understanding of colour theory and learning from the studied artists and designers. Development work is set out and evaluated clearly.

The colour book showed my best work in a simple format, demonstrating good selection skills and consistency in presentation; the introduction and simple labelling were good.

Written reflections and self-evaluation against the criteria were appropriate.

Needs Work

More reflection on what I have learnt in each exercise. For example, yarn wrap exercises concentrated too much on creation and not enough on the overall aesthetic of the wraps (analysis of the proportions, textures, possible translation into textile designs) and potential for using the finished wraps’ colour palettes. Two of the wraps showed too much or too little variation in scale.

The title square logo on the cover was not appropriate to the contents of the colour book.


To Do [My updates added in square brackets]

  • Continue to keep technical information tables and samples for future work [ongoing]
  • Translate detail of Collage #2 into a textile design [Textile Design here]
  • Continue to include evaluations and connotations for work (eg colour palettes) [ongoing]
  • Reflect on the learning achieved from each part of the course. [ongoing]
  • Consider the aesthetics, visual read and potential for the work created, as well as strengths/weaknesses. [ongoing]
  • Add some thoughts about the yarn wraps’ potential as useable colour palettes. [edited section added after summary to Yarn Wrap article]
  • Make a new, more appropriate title square and back page logo for the colour book.
  • Develop my use of colour in the next two parts of the course. Continue to make colour palettes in paint for work created. [ongoing]
  • Research Sanne Schuurmann and her colour magazine [Colour Research]
  • Research Margrethe Odgaard and her Color Diary Japan [as above]
  • Study Raw Color [as above]
  • Look at the 1692 colour book [as above]

Assignment 3: Self Evaluation: Performance Against Assessment Criteria

Demonstration of technical and visual skills

Materials – use of usual and unusual materials, eg, recycled paper used in the monochrome collage; found/made linear media in Yarn Wrap #5.
Techniques – colour analysis, colour palette reproduction in paint, collage, designing, laying out and assembling a colour resource book (CRB).
Observational Skills – used in all of the exercises, eg evaluating textiles for colour palettes, painting watercolour stripes of glass arrangement.
Visual Awarenessselection of glass arrangement; and Old Master subject; seeing potential in a simple scene, for collage.
Design and Compositional Skills – selecting the size, layout, covers, cover decorations, labelling font as well as the subject matter and running order, for the CRB, and assembling the piece.

Quality of outcome

Content – selection of material to be included in the CRB.
Application of Knowledgeresearch on the use of colour palettes and proportions of colour by certain designers fed into my choices for colourful textiles to analyse and the colour palettes selected for collage work.
Presentation of Work – the CRB is arranged in a logical manner, following the learning from the exercises during the coursework for Part Three. I chose to put the Ex 3.3 watercolour analysis of a glass arrangement following the other painted work, leading into the work on linear media, as it felt like a more natural ‘flow’ from painted work to yarn wraps to collage. (Illustrating my learning about colour analysis/reproduction to effects of lighting/proportions of colour, then introducing texture, the importance of tone, value and saturation with the collage work and grey studies and ending with image analysis with found colours (felt pens and textiles)).

Demonstration of creativity

Imagination – eg, coming up with a CRB that fit the criteria of being simple, well presented and expandable.
Experimentation – eg:- trying different lighting effects, backgrounds and compositions with the glass arrangement; using software to suggest ways of altering the collage in colour and through pixellation.
Invention – making and using ‘found’ linear media for Yarn Wrap #5; using different types of paper media (shredded, crushed, sanded/holed, cellophane, painted, magazine print etc) in the collage work.
Personal Voice – choice of colour palettes (often bright!), subject material (eg, for the collage: cat cushion, textile scraps, yarn) is starting to reflect me and my interests.


Reflection – evaluating and reflecting on my learning and what it means for my future work is starting to become ingrained in my practice. Visual evaluation (eg, revision of Assignment 2, and cat cushion drawing) have led to new ideas.
Researchstudying designers and collage artists was extremely useful grounding for this Assignment. I also followed up on my Tutor’s advice for reading (Kleon, 2012 and Tellier – Loumagne, 2005) and this led me to a more wide-ranging study of knitted fabrics and contemporary knitting.
Learning Log – I have recorded a selection of my research, course and assignment work and reflections in my learning log blog.




Kleon, A. (2012) Steal like an artist: 10 things nobody told you about being creative. New York: Workman Publishing Company.

Tellier-Loumagne, F. and translated by Black, S. (2005) The art of knitting: Inspirational stitches, textures and surfaces. London: Thames & Hudson.

Assignment 3: Colour Communication: Written Reflection

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.

New skills

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.

Assignment 3: Colour Communication

My approach to this Assignment was to select the work, mount it, label it, decide upon the order of the contents, make a cover, introduction and contents page, and finally to assemble it.


I began by laying out the Part 3 Coursework and evaluating the pieces to see which I felt were my best work, and which also told the story of my development in colour analysis over the course of the exercises. I picked out a few pieces that I had made in addition to the coursework – studying chromatic greys and analysing images for colour.

I had a mixture of pieces in both portrait and landscape format, so decided to use a ring bound portrait format that could also be viewed in landscape. It allowed the book to open out flat, and could accommodate future additions to the book.

Layout & Space

Initially, I had thought that A4 size would be suitable, but some of the pieces were slightly too large. They would have looked crowded on a small page and would have required holes to be made through them, so I opted instead for A3 format and ordered some plain white card for mounting on. I used loose ring binders and decided to make the covers from mount board, but with a textured, cream covering.

I made a couple of samples to see how much texture to give the cover, and whether it would need coating in paint or gesso. I preferred the bottom sample, as it gave me the opportunity to add more decoration to the covers. I used a coating or two of gesso to add strength to the tissue paper and to give a matt cream finish.


I made a few sketches of possible logos for the front cover. I wanted something simple, but colourful to echo the contents and my own preference for bright colour palettes. I noticed that I could make a sort of face out of the letters, but decided that the cut-out letters with the bright ink behind them (sample seen at bottom right of sketchbook) were most appropriate to the contents. I made a sheet of ink shapes on watercolour paper, and cut out the letters in a courier font (to match the labels I had made for the inside pages).

[It is hard to know why I prefer the brighter colours, except that perhaps – growing up in the 1970s and 80s – there were lots of bright colours around in toys, clothing, wallpapers and household furnishings, also on TV: adverts, and pop videos – that have filtered into my consciousness.]

For the back cover, I considered using a photograph I had taken during the coursework, showing my paint palettes, but decided, for consistency, to add a logo similar to the ‘COLOUR’ one, but featuring my initials.



My approach for the coursework and assignment has been to read the coursework thoroughly; to draw out the main points from the text to underline what is required; to assemble the necessary materials and equipment and then put my  best efforts into completing the exercises.

I have developed the work by supplementing the coursework with research into collage makers; working with chromatic greys in exercises from Hornung, 2012; and selecting images to analyse for colour using felt pens and textiles. I have kept a note of linear media used, experiments, and an evaluation drawing of one element of the collage (the cat cushion) which led me to wonder about creating a series of work on ‘childhood toys’ or ‘favourite possessions’. These struck me as an autobiographical indicator of the owner’s personality.

The process of making the colour resource book has been one of decision-making: what to include?, which font to use for labelling?, which font size?, whether to number the pages or not?, how to lay the work out on the page? etc etc. It has been an enjoyable, if somewhat nerve-wracking experience.

Here are a few images of the colour resource book that I made. I thought that a similar storage/presentation method might work well for the dozens of loose sketchbook pages I have, even though they vary greatly in size.




Hornung, D. (2012) Colour: A workshop for artists and designers: A workshop for artists and designers. 2nd edn. London: Laurence King Publishing.


Key Aspects of Part Three: Colour Studies

This part of the course is broken down into two projects, four exercises and two research points, followed by Assignment 3. The key aspects  of the coursework are investigating colour with reference to textile design: learning to observe, choose, mix, work with and present colour, through practical exploration. Keeping a written record of thoughts, ideas, experiments and outcomes in my Learning Log is required for future reference.

Project 1: Colour Palettes and Proportion

This project is about analysing textiles, identifying the colour palettes (number of colours and proportions of each colour) employed.

Research Point 1

I will research the suggested textile artists and designers, and study examples of their work, recording the findings in my Learning Log (LL).

Exercise 3.1

This exercise involves selecting textiles, studying them closely and making representative paint chips of the colour palettes found in the samples.

Part 1

The key tasks are:-

  • select six textiles (3 printed, 3 neutral with interesting surfaces);
  • identify the individual colours visible in each textile;
  • mix gouache paint to exactly match these colours, and paint it onto 3 x 3 cm squares of paper;
  • present the resulting successful samples alongside the textile, on white paper (unsuccessful samples should be store in my sketchbook);
  • making notes in my LL.

Part 2

Key tasks:-

  • select a textile sample 10 x 10 cm;
  • attach it to white paper, and surround with a 20 x 20 cm pencilled box; and
  • mix gouache paint to match the colours in the textile (make a test sample first) and extend the design to fill the box.

Part 3

Key tasks:-

  • repeat instructions for Part 2 using a neutral textile sample; focus on creating multiple tones of the same colour;
  • record thoroughly in LL.

Research Point 2

  • explore digital resources for textile development and design;
  • record experiences in LL.

Exercise 3.2

This exercise is about analysing a two-dimensional image with respect to the colours and proportions of colours used in that image; selecting linear media that match the colour palette, and exploring placement/proportion of colour, and presenting the palette on yarn wraps.

Key tasks:-

  • select an Old Master postcard with rich, differentiated colours;
  • source representative (in colour and quality) linear media;
  • make 5 yarn wraps with linear representations of the colours, combinations and proportions of colour found in the chosen image (or sections of the image);
  • reflect on the process in my LL.

Project 2: Materials and Composition

The aim of this project is to develop my skills with colour through selection of a visual source; photographing and analysing the colours and proportions of colours in the source material using a range of techniques (paint, collage etc).

Exercise 3.3

This exercise aims to aid me in better understanding colour opacity, through studying transparent objects and isolating the colours and proportions of those colours found in a still life arrangement.

Key tasks:-

  • select 6 transparent/semi-transparent items of differing size and shape;
  • set up a still life composition on white paper, experiment with/without a white background, and with the arrangement of objects;
  • observe the resulting colours visible and experiment with different light sources;
  • paint in watercolour on watercolour paper (20 x 5 cm), forming representative stripes of colour;
  • change the arrangement/focus on one area; change the size and orientation of the watercolour paper, and paint again (5+ examples);
  • keep a record in sketchbook of photos and resulting painted stripe representations;
  • reflect in LL.

Exercise 3.4

This exercise is focused on developing my collage skills with regard to colour and composition.

Key tasks:-

  • photograph a disorderly cupboard or part of the room;
  • assemble (and paint) appropriate papers to represent the colours found in the photo.

Part 1

  • make 3 x A4 collage studies representing the colours and composition of the photo (one ‘simple’; one ‘unusual’ and one ‘complex’);
  • keep notes in LL at all stages of the process.

Part 2

  • select one collage for further development;
  • make a black and white version;
  • make a single colour version;
  • make a multi-coloured version;
  • make and place some colour chips next to the collages, isolating the colours and papers used, on white paper;
  • reflect in LL.

Review Point: Quality of Outcome

I am reminded to refresh my memory about the assessment criteria for the course, particularly the ‘Quality of Outcome’ criterion with regard to content and presentation of my work.

Assignment Three: Colour Communication

This assignment involves judging the merits of the work I have produced; picking which pieces will be presented for assessment; and showing that I am able to design, lay out and present my work in a coherent and logical way, that narrates my learning and skill development in this part of the course.

Key tasks:-

  • read all the reflective notes made during this part of the coursework;
  • lay out my coursework to assess the development and strengths and weaknesses of the work;
  • select work from each exercise;
  • present the work in a beautiful book format, giving careful consideration to the:-

content (make and include text labels, extra paint chips, photographs or yarn or textile samples where necessary) Include a front and back cover.

design/construction (the book should be carefully and precisely made to my choice of size, orientation and layout, using heavy white paper or card as a background. It should have capacity for future additions.)

layout/space (content should be well spaced, uncrowded, carefully ordered, labelled simply, with added text where useful.

Submitting The Work To My Tutor

I will send:-

  • the completed colour resource book
  • samples of work that did not ‘make the cut’
  • LL url
  • related sketchbook work
  • 300 words of written reflection (also in LL)
  • 500 words of reflection of my performance against assessment criteria (also in LL).

Reworking The Assignment

Following feedback from my Tutor, Cari, I should rework items highlighted by her, and reflect on what I have done in my LL.