I’m continuing with the colour exercises, but have been thinking more about how these can be interpreted in weaving terms. The plain weave (or perhaps I should see them as blocks) I’m using on the assignments brings a lot of constraints. Of course there’s surface design after weaving – a few well placed stitches or maybe experiment with patches.
I found a quote from Sharon Alderman, from a Weavezine podcast:
“…painters, if they want a little dot of crimson right there on the canvas, they just put it there. But if I don’t want it to appear in the warp direction and in the weft direction, I have to be ingenious to make it happen.
Assignment 3 in David Hornung’s colour – a workshop for artists and designers is prismatic studies. “Prismatic” colours are high saturation, pure hues. I had mixed success.
The major problem is the low-key violets. Dull, dull, dull! However not unexpected or unusual – in the book Hornung comments that mixed “pure” violets will always be disappointing. However, he recommends that despite this one should stick to mixing in the first four studies of the course. Ever obedient (hah!) I mixed, but have bought commercial violets and turquoise for the the later studies. The Lanaset dyes I use have particularly gorgeous violet and turquoise, and there’s no point learning about colour with that gaping hole.
Assignment 4 asks for Combined Saturation Studies.
On review I could have included something with stronger saturation.
Plus an extra for fun, since I often don’t like the studies I’m producing.