No Colour No Contrast - final pieces
Colour
I selected four colour combinations which I judged to be the most successful of those I tried out during sampling:
Red / Light Blue (sample L)
Purple / Lime Green (sample E)
Blue / Yellow (sample A)
Green / Pink (sample I)
I selected four colour combinations which I judged to be the most successful of those I tried out during sampling:
Red / Light Blue (sample L)
Purple / Lime Green (sample E)
Blue / Yellow (sample A)
Green / Pink (sample I)
Pattern
In selecting the patterns to take forward from sampling to final pieces, there were several things to consider in addition to my subjective judgement of the patterns individually:
1. Was I showing a variety of patterns that could be achieved in both form and scale?
2. Were the patterns based on a variety of underlying lines and curves? I selected several that used the arc/trough combination that seemed particularly useful and could be contrasted against a range of other lines and curves.
3. Did I have a mixture of tie-ups (A and B) used in sampling? I found that the B time-ups were more successful for these particular patterns - so these are in the majority.
4. What was the size of the repeat in each sample? Should this be adjusted for a larger piece? Some of the samples already had large repeats. For consistency across the collection of final pieces, and because I think they are visually more interesting, I decided to adjust one of the underlying lines/curves in each design to create a larger repeat, which takes the repeat beyond the bounds of the textile .
In selecting the patterns to take forward from sampling to final pieces, there were several things to consider in addition to my subjective judgement of the patterns individually:
1. Was I showing a variety of patterns that could be achieved in both form and scale?
2. Were the patterns based on a variety of underlying lines and curves? I selected several that used the arc/trough combination that seemed particularly useful and could be contrasted against a range of other lines and curves.
3. Did I have a mixture of tie-ups (A and B) used in sampling? I found that the B time-ups were more successful for these particular patterns - so these are in the majority.
4. What was the size of the repeat in each sample? Should this be adjusted for a larger piece? Some of the samples already had large repeats. For consistency across the collection of final pieces, and because I think they are visually more interesting, I decided to adjust one of the underlying lines/curves in each design to create a larger repeat, which takes the repeat beyond the bounds of the textile .
Process
Each of the finished pieces uses a 524-end black and white end-and-end striped warp (520 ends in pattern and a double-end floating selvedge at each side) giving a finished width of around 60cm.
The weft comprises 1040 picks, of which the first and last 16 are in the darker colour only and the majority central section is in a dark/light pick-and-pick sequence.
After weaving, the pieces were knotted in 8-end bundles at each end and washed. Like the samples, I rolled them after washing to soften the fibres.
Each finished piece was attached to an oak rod for hanging.
Each of the finished pieces uses a 524-end black and white end-and-end striped warp (520 ends in pattern and a double-end floating selvedge at each side) giving a finished width of around 60cm.
The weft comprises 1040 picks, of which the first and last 16 are in the darker colour only and the majority central section is in a dark/light pick-and-pick sequence.
After weaving, the pieces were knotted in 8-end bundles at each end and washed. Like the samples, I rolled them after washing to soften the fibres.
Each finished piece was attached to an oak rod for hanging.
Final piece 1
Based on sample L. Tie-up: B.
The original sample used a zig-zag/point threading for one line and a straight threading line for the other. In the final piece I used a progressive straight threading to increase the repeat.
Based on sample L. Tie-up: B.
The original sample used a zig-zag/point threading for one line and a straight threading line for the other. In the final piece I used a progressive straight threading to increase the repeat.
Final piece 2
Based on sample J. Tie-up: A.
The original sample used an arc/trough combination for one line and a sine wave for the other. In the final piece I used a progressive sine wave to increase the repeat.
Based on sample J. Tie-up: A.
The original sample used an arc/trough combination for one line and a sine wave for the other. In the final piece I used a progressive sine wave to increase the repeat.
Final piece 3
Based on sample D. Tie-up: B.
The original sample used an arc/trough combination for one line and a straight threading line for the other. In the final piece I used a progressive straight threading to increase the repeat.
Based on sample D. Tie-up: B.
The original sample used an arc/trough combination for one line and a straight threading line for the other. In the final piece I used a progressive straight threading to increase the repeat.
Final piece 4
Based on sample G. Tie-up: B.
The original sample used an arc/trough combination for one line and a falling arc for the other (which had the same repeat of 19 as each half of the combination giving an overall react of only 38). In the final piece I increased the size of the falling arc to 21 to increase the combined repeat.
Based on sample G. Tie-up: B.
The original sample used an arc/trough combination for one line and a falling arc for the other (which had the same repeat of 19 as each half of the combination giving an overall react of only 38). In the final piece I increased the size of the falling arc to 21 to increase the combined repeat.
Final piece 5
Based on sample B. Tie-up: B. Similar to the original prototype design.
The original sample used a stretched sine wave for one line and a zig-zag/point threading for the other. In the final piece I used a progressive zig-zag/point threading to increase the repeat.
Based on sample B. Tie-up: B. Similar to the original prototype design.
The original sample used a stretched sine wave for one line and a zig-zag/point threading for the other. In the final piece I used a progressive zig-zag/point threading to increase the repeat.
Final piece 6 (a late addition)
Based on sample H. Tie-up: B.
The original sample used a sine wave for one line and a rising wave for the other. In the final piece I used a progressive rising wave to increase the repeat.
Based on sample H. Tie-up: B.
The original sample used a sine wave for one line and a rising wave for the other. In the final piece I used a progressive rising wave to increase the repeat.
Photos by Andrew Moore