Unit X Post 2

After being many places and gathering research to start my project, I first started to create my colour palette, I find this helpful as a starting point, and at this time we were starting to think about warp designs, so thinking of a colour scheme was a good idea as this helped me in the decision process. 

Colour Pallet  

The quality that really enticed me to this area was the chaos which was of all the wires tangled together, but yet the order in the block colours of the cords themselves. I found it very hard to translate my photos into drawings focusing on texture, and then to translate this to weave, but did what I could and found that actually slicing up the photos into strips really helped, and taking the qualities directly out and onto the loom. I felt that I did really struggle with the drawing in my sketchbook but found it easier drawing with the weaving. 

Wires from Blackpool Illuminations 

I really liked the order within my work, and this structure came through in my drawings too. I had started weaving and leaving strands as I liked the effect of this and it reminded me of typical passementerie, but this is not what my work was about, so I moved away from this and thought a more controlled and considered edge said more about my work and style. I thought of having tassels but cut very sharp and straight, however when playing around with ideas I found that I much preferred having a continuous pattern running through my weave and having the wires appearing through, creating something lovely outside the weave, a continuous pattern.

I wanted to capture the chaotic nature of the piles of wire through my choice of yarns, so using a flat and slightly shimmery yarns, and incorporating wires in my own work. I have been using these methods, but have not been seeing the results I had hoped for. My samples are more toned down than they should be, and the wires seemed to be too thin and fragile for what I was tying to achieve. Also a few of my samples were looking too similar to tea towels, due to the lack of stability in them and the softness of the yarns. So I needed to get thicker wires, and some bolder, more vibrant yarns, and avoid the typical checks. 

Lights within the illuminations

Simple translation for weaving the pattern

Here I am showing how I have continued to translate the research I had gathered at the beginning of the project, these sorts of  marks I have brought into my weaving create very structured pieces, taking into consideration the linear marks both vertical and horizontal.

Warp Decision Making

When deciding on what warp to make, I wanted to go with colours that were within my colour pallet, these were all mostly vibrant colours, but I wanted to achieve a less saturated look, so I selected more toned down versions of my original colours. This meant that I could experiment with brighter colours in my weft, and not be overwhelmed by the brightness of the warp. So far with my weaving it has been successful, but I am certainly finding out what I like the look of and what I do not. I am finding the method very time consuming as I have been used of knitting, and find that with knitting you can produce samples very quickly, but with weaving, not so much. This is good as it means planning out what you are going to do next is more important, as it is going to take time, but I am finding that if something is not going well, I am not fast enough at it that I can get enough samples done, and refine them.