Global Threads

 Although Anne Wilson's piece is full of colour I thought the black lines between them interrupted the flow. I preferred the white on white tones and beautiful layering of the cotton wedding dress.

"What can you do with a bit of black flannel?"

I am very happy with this latest sample, it's the first one I've made that immediately says fashion rather than interiors! I love the jewel like quality of the revealed stitches, 

which also fits with my original desire to reveal something of the unseen realm.

What I'm about at last seems to be coming out into the open, I'm a fabric maker.

• Focus more on the ground colour, use neutrals and muddy colours to contrast with brights.

Trimmings

I'm still struggling with my colour palette because I'm using the fabrics I dyed at first.

• Re-dye fabrics to knock back the colours for neutral tones. 

Trimmings from satin lines

twin needle line in between

This trim has some potential, though the colours and tassel effect 

give more of an interior than a fashion feel at this stage.

Bright colours on neutral ground

The contrast between the anemones and the ground are more successful than the peony.

Using a bright colour palette

I like the effect of the alternate cut lines and the colours but they don't work as well as Tricia Guild or Mary Katrantzou's palettes which have more neutral contrasts.

• Use less metallics and contrast with neutral grounds.

Dying grounds for stitching

silk organza, wool crepe and wool flannel.

Painting a colour palette

Autum / Winter 2012 colour palette

Matthew Collings and Emma Biggs - Lecture

She is a mosaicist and chooses the colours instinctively, which he then paints! Each side of the diamond is two tones of one colour. The colours draw your eye across the surface creating a visual vibration or pulse. 

I'd like to create this effect with the colours in my circles.

Looking for a colour palette in the edges of heaven and earth

The colours as the sun sets are beautifully bright and muted 

but I'd prefer to work with a broader colour palette.

More satin stitch circles

Experimenting with different ways of cutting the satin stitch, continuing with the circle motif for now.

Drawing with Colour from Different Views

The painting below is the beginning of a response to Nigel's suggestion 

to use more colour and to draw from different perspectives.

Basket of soap - gouache and graphite

Circles and Layers

Creating 3D effects is important to me, so I am considering layers and repeats as illustrated below. Gornall's combination of precise lines and organdie circles in brilliant colours across layered planes are very compelling. Harries' layered alphabets have a more simple, rustic look but again have depth.

Short Walk VIII (detail) Rachel Gornall

Embroidery May / June 2011 p.40

Slate Alphabets (detail) 2009 Ruth Harries

Embroidery November / December 2011 p.30

Looking for edges

I feel I have to get in charge of the multi head which at the moment feels as if it dictates the terms.  I wanted to draw with it but the colours, the fabric and the scale don't work, I think it's better to pursue the satin stitch technique for now.

Asta Barrington's work gives me a sense of how my work could develop.

Scarf by Asta Barrington

Winter jasmine

Tutorial with Nigel

Looking over sketchbooks and technical files from previous years Nigel focused on my drawing ability, which was encouraging. He picked out a photo of lipsticks I'd taken, 

pointing out the colour palette using a flash of mauve amongst the dark tones. 

• Develop drawing using colour and tone.
• Draw from different viewpoints rather than just straight ahead.

Materials Review

My materials review was an important turning point for me in recognising
the importance of using more colour in my work. Words to describe my materials were
textured, sculptural, folded, detailed, bright and embellished. 

• Research fashion designers who use bright colours and technology.

Dye Lab Induction

I may want to dye my own fabrics for the garments I make.

Burn tests to identify fibres above, viscose below, to decide appropriate dyestuff and method.

 Washing cloth after weighing it, before dying.

Weighing dyestuff in the laminar flow extraction booth to prevent inhalation.

Collaborative Projects Lecture

I was amazed at the jewel like colours of the suffolk puff quilt 

that Lynn Setterington had made from plastic carrier bags for Stitching up Oxford Road.  

The distorted images of the bags remind me of Japanese fabrics.