day out and colour mixing

Tuesday sounded as if it was going to be the last fine day for a while, so Alan suggested we went into the Lakes for a few hours. We drove up towards Keswick and over Honister Pass, then on to Whinlatter (a favourite haunt when our girls were children). I had fun taking pictures from the van window on the way, one or two turned out to be quite interesting combinations of blur and focus.

leaves through leaves

The range of autumn colours in the mountains is incredible.

mountain colours

This is the spectacular metal sculpture of an osprey outside the Visitor Centre at Whinlatter. (Real ospreys nest in the area). I’ve uploaded some more images to Flickr.

osprey sculpture

I have been working on colour mixing exercises with stitch for OCA Textiles 1, using dotty stitching – French knots in a pointillist style. This calls for good primary and secondary colours, and I soon discovered that I actually have very few of those in my stash – mostly variegated threads and random bits and bobs. I started a very small sample in some red and yellow threads I dyed a while back, and ran out of those, so today I went down to town and bought a small rainbow – well, two rainbows, one in stranded cotton and one in wool. That should keep me going for a while!

threads and French knots

I was in the library too and saw this dramatic, enormous knitting installation in the foyer. They said I could take some pics to share with you. Kendal is a town whose history is intimately connected with wool production – its motto is ‘pannus mihi panis’ – ‘cloth is my bread’, or as people often interpret it ‘wool is my bread’. We even have our own breed of sheep – the Rough Fell. This project celebrates that heritage.

timewarp2.jpg
Timewarp
about Timewarp

getting on with some Textiles exercises

I’ve been conscious that though I’ve been doing lots of of textile-y and colour-related things, which I’m sure contribute to the learning curve I’m on with OCA Textiles 1, I haven’t done any actual exercises since August, so yesterday I sat down and did the next two from the course folder. The first involved choosing images that have a colour scheme I feel drawn to and collecting fabrics and threads to match the colours. This was fun – I chose a couple of postcards – one is of the stained glass window designed by Patrick Heron for the Tate in St Ives, Cornwall, and the other is Liesbeth Lange’s photo of ‘Colours from Nepal’ – I guess they are dyes, but I don’t really know.

matching colours

The second exercise was to stitch onto a black background using two primary colours. I am finding that the more I hand stitch the more I enjoy it – it takes time, which I lack, but the patterns are so lovely and I’m fascinated by the variations that grow between one stitch and the next.

stitching with primary colours

I’m off now to make a few sample paper beads to take to youth club tonight, but I must just mention a magazine I read about yesterday on MissMalaprop.com. Worn Fashion Journal sounds like a great publication for anyone who’s interested in fashion design, wearable art or the cultural meanings of clothing.

happy and sad

In OCA Textiles 1 right now, I am working on the use of colour to convey concepts like happy/sad… and how resistant I am to putting sadness onto my paintbrush. Maybe because I have been feeling a little sad myself this week, I want – I only want – to paint colours that bring me joy. Interestingly, the word ‘sad’ was once commonly used as an adjective for colour, meaning

Dull; grave; dark; sombre; – said of colours. “Sad-coloured clothes” (Walton)
“Woad, or wade, is used by the dyers to lay the foundation of all sad colours” (Mortimer) dictionary.net

Sad colours were deep and dark, neutral, sober. In the OED I read that in the 18th century chemicals were added to dyes to ‘sadden’ the colours – to tone them down. So could I bring myself to sadden my colours – maybe a very dull and dirty looking brown would do it, or a constricting, choking black?

sad colours

sad colours

Debussy wrote

The colour of my soul is iron-grey and sad bats wheel about the steeple of my dreams.

Which is how I often feel. Yet even those greys and browns and blacks (or blues) – well, I wonder – I can’t help feeling that even the drabbest dingiest colour may be singing away quietly to itself in its own understated way, hiding a dark rainbow in its depths.

Really, in my head and my heart I’m with Calvin (for once)

There is not one blade of grass, there is no colour in this world that is not intended to make us rejoice. John Calvin

joy colours

joy colours

weekend’s work

I’ve been painting some colour wheels for OCA Textiles 1 – they didn’t turn out quite as I expected, though. I was using Brusho inks and I don’t know if it was the way I mixed them but the lemon and the golden yellow were so similar in hue that I didn’t get all the variations I was expecting. I’ll have another go with some gouache paints. Then I spent a bit of time mixing tints and tones in acrylics and experimenting with mixing in touches of a complementary colour. I could do this kind of thing all day long – I just love it.

mixing colours

I’ve also been painting silk organza and pongee for my appliqué hanging for City and Guilds – one piece of each in reds, one in greens and one in purples. These are fronts and backs to go with these felts. The next stage is to machine quilt the three layers, incorporating shadow applique, then cut back into it to expose some of the felt. The organza will be the top layer.

silk

I found this picture on the camera as well – it’s the sky from my office window, one evening a few weeks ago when it wasn’t quite as wet as today!

Kendal sky

first assignment is sent!

We got back from Portugal late on Saturday, and I spent Sunday packing up my first assignment to post for OCA Textiles 1  – it took ages to label everything and write an evaluation of each project completed so far. The writing is much harder than the art work! I don’t think I’m keeping enough information in my logbook – which is partly this blog – I need to review the books I’ve been reading and get better at annotating my samples as I go along.

These are the last couple of pieces I did to explore texture in stitch. In the first one I was trying out different ways of stitching with tension adjustments to create contrasts of texture. It looks a bit like an allotment, though that was unintentional -  it’s interesting how the work sometimes goes in a direction all of its own.

texture with machine stitch

The other sample is intended to show proportions of colour and texture using different yarns, and is based on a drawing I did using a feather and Brusho inks. I like the way the colours turned out but it’s not very feathery!

wrapping colours
texture with yarns

Although my camera wasn’t working, I managed to take a few pictures in Portugal on my friend’s camera (where they still are). I’ll upload some of them as soon as I get them.

A lot of work seems to have mounted up while I was away so I’m playing catch up before plunging back into the quilting. I’ve got a couple of packages of silk to paint and dye – so I hope the sun will still be shining in a couple of days’ time!