Project 9 Stage 4 process check

It was interesting to hear how important Process is in Ruark Lewis’s work (blog post 4-Nov-2012). It’s also very important in the OCA course – we not only have to produce work, we have to show our design process and the decisions we’ve made to reach our final product. Actually I think the word “process” has extra nuances that I don’t yet understand.

I’ve been working on this final stage of Project 9 for a couple of weeks now and have yet to touch the loom. I’ve changed tack a few times, and feel the need to take stock of the process so far, check that I’m happy with my choices and (not un-importantly!) check that what I’m doing meets the project requirements.

The task is to develop design ideas into weaving of a large sample piece. Two approaches are given:
Approach 1: Analyse colour, texture and proportion in source material or sketch(see post 7-Sept-2012 at the beginning of this Assignment to see my past attempts at that). Make a yarn wrapping. Develop into stripes on graph paper. Weave. Of course there’s lots more detail / suggestions / instructions / guidance than that.
Approach 2: A more intuitive approach. Select a word – exotic, tribal, rural… Make a storyboard of images. Select areas, thinking about colour, proportions, energy. Select yarns and make a wrapping. Add to mood board, adjust until it expresses the mood of your chosen word. Plan and sequence roughly. Weave to interpret the ideas and express the mood of the word.

I had enjoyed working with the photo of seaweed in the previous stage (see post 26-Oct-2012), so decided to use “coastal” as my theme word.

Of course there’s a lot of different “coastal”, and at first I wanted to stay on the same beach on King Island. To keep it fresh and different I left the seaweed and moved focus to the water and especially some grasses.

So I did a little sketching of the grasses, and tried out some yarns that might work, and pinned them up with photos and other bits and pieces I thought could work in a mood board. I liked the idea of horizontal stripes of colour and texture in the sand, sea, distant island and sky, but I wanted to get that movement and interest of grass across the image or at least some kind of graphic element based on them that would add an extra layer of interest. I dug out weaving books and samples, was wondering how far I could stretch danish medallions, how else to get diagonal lines… then realised not only was I getting lost in technicalities of weaving, but weaving really isn’t the right process or technique for the image in my head, or at least be only one component of it. Plus it would be a nice change to have some more colour. Time to step back and regroup.

Going through photos from my recent trip (blog post 7-Oct-2012) I was struck by the ones above from Flinders Island. Although the colours look quite different, they were taken maybe 100 metres and 15 minutes apart.
A quick sketch (badly photographed in late afternoon light last weekend) looked promising. I liked the combination of colours and the level of abstraction.

I used gimp to combine elements of the two photos, then drew a more careful plan for the potential weaving. (Sorry, another poor photo).

Earlier in Stage 1 I really liked the effect I got when using a dozen or so fine threads of similar colours together (post 14-Oct-2012). I could create different bundles for each shape, and use more textured yarns in the closer areas to help suggest some depth and change through the weaving without being too literal.
Which has brought me to a worktable covered in yarn candidates, some sample yarn bundles, and a series of mood boards taking over a corner of the room.

So the current plan is:
* long thin warp, a smooth cotton and fiddle with sett to get good coverage by weft
* yarn bundles following colours in combined photo. Boucles and thicker yarns, mostly matt (wools etc) in close rocks. Finer, smoother yarns behind and more shine. Little or no wool in water.
* Maybe a few extra bits of yarns here and there – eg for waves
* Limited additional texture in the actual weaving – mostly plain weave, perhaps a bit of soumak or bumps over a knitting needle here and there.
* I’d like to get the shapes in my drawing, but may not be able to make them sharp and the slopes nice given the scale of the weaving. If necessary I will change to stripes, but follow proportions and colours as planned. Either way I’m planning horizontal bands for the water and sky – it fits with the image better and provides a contrast the the angular rocks.

Writing this has confirmed my suspicion that I haven’t followed either of the suggested processes, it’s been more of a mixture. However I feel I have analysed colour, texture and proportions and I have selected at least some of the yarns, I have a fairly clear plan (and backup plan) for the actual weaving, and I have mood board(s) in progress. The one thing that was emphasised in both approaches that I haven’t done is a careful yarn wrapping. I’m hesitating because I want to see my first bundle or two on the loom – I don’t want to commit to creating a full set until I know if I need to adjust size and composition of bundles to get the effect I want in the weaving.

I feel quite encouraged by this review, and confident that I’ve done enough to be able to warp and start weaving. For an extra layer of mood board, I’ll finish with a few more photos taken on the very beautiful Trousers Point on Flinders Island. The rock is actually an apricot coloured granite, with bands of orange lichen. Many of the views are across the waters of Franklin Sound, to the mountains of Cape Barren Island.


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November 2012

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