No Colour No Contrast - sampling
Yarn
In selecting yarns for the project there were three main considerations:
1. The right sort of gauge of yarn to show the patterns in a large scale piece. This ruled out particularly fine yarns such as the 60/2 silk I've worked with previously.
2. A yarn that doesn't shrink too much. I wanted to preserve the designs as far as possible after washing. I wasn't trying to achieve textural effects through shrinkage. So yarns such as linen or cotton might be appropriate.
3. A good range of colours. I don't dye my own colours so I needed a yarn in a range of colours that reflects the outcomes of my colour research stage. I found that some yarn collections have a wide range of saturated hues but little in the way of pale colours that I would need to contrast them against.
In the end I settled upon a range of linen yarn: Bockens 16/2 Lingarn supplied in the UK by William Hall & Co.
In selecting yarns for the project there were three main considerations:
1. The right sort of gauge of yarn to show the patterns in a large scale piece. This ruled out particularly fine yarns such as the 60/2 silk I've worked with previously.
2. A yarn that doesn't shrink too much. I wanted to preserve the designs as far as possible after washing. I wasn't trying to achieve textural effects through shrinkage. So yarns such as linen or cotton might be appropriate.
3. A good range of colours. I don't dye my own colours so I needed a yarn in a range of colours that reflects the outcomes of my colour research stage. I found that some yarn collections have a wide range of saturated hues but little in the way of pale colours that I would need to contrast them against.
In the end I settled upon a range of linen yarn: Bockens 16/2 Lingarn supplied in the UK by William Hall & Co.
Sampling
I wove 16 samples each with a different design and colour combination with the intention of evaluating each of these aspects separately at the end. There was no intentional link between any particular design and the colour combination used at this stage.
I tried out versions of the five colour combinations I had identified earlier. Some of these, particularly the red/light blue combination, had a greater range of yarn colours available than others - resulting in more samples of this combination.
I selected designs from my earlier design work on the computer, choosing a mixture of patterns and A or B treadlings. The choice of patterns was essentially subjective based on what I thought worked well at the CAD stage.
Each sample uses 168 warp ends for the pattern plus 2 ends at each side as a floating selvedge (172 ends in total). The 168-pick lifting sequence reflects the threading sequence.
The warp is an end-and-end black and white stripe. Each sample uses a different threading sequence and a different pair of weft colours.
The finished samples are approximately 20cm square. After washing I rolled them with a rolling pin (my own approximation of the beetling process) to crush the fibres, reducing the gaps between them and giving a softer fabric.
In the images below you can see a CAD version on the left and a photo of the textile sample on the right.
I wove 16 samples each with a different design and colour combination with the intention of evaluating each of these aspects separately at the end. There was no intentional link between any particular design and the colour combination used at this stage.
I tried out versions of the five colour combinations I had identified earlier. Some of these, particularly the red/light blue combination, had a greater range of yarn colours available than others - resulting in more samples of this combination.
I selected designs from my earlier design work on the computer, choosing a mixture of patterns and A or B treadlings. The choice of patterns was essentially subjective based on what I thought worked well at the CAD stage.
Each sample uses 168 warp ends for the pattern plus 2 ends at each side as a floating selvedge (172 ends in total). The 168-pick lifting sequence reflects the threading sequence.
The warp is an end-and-end black and white stripe. Each sample uses a different threading sequence and a different pair of weft colours.
The finished samples are approximately 20cm square. After washing I rolled them with a rolling pin (my own approximation of the beetling process) to crush the fibres, reducing the gaps between them and giving a softer fabric.
In the images below you can see a CAD version on the left and a photo of the textile sample on the right.
Sample A
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Sample B
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Sample C
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Sample D
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Sample E
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Sample F
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Sample G
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Sample H
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Sample I
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Sample J
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Sample K
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Sample L
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Sample M
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Sample N
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Sample O
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Sample P
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