Week Four

From my photoshop practice I created layered imagery to compose an image that focused on the structures of the business school. I chose colours that compliment each other to dominate the image but I left a moment of vivid yellows and greens to make a point of focus. 

 My yarn choices were not reflecting the imagery I have been working from. This is mainly because I had been using textured yarns that are mucky colours, whereas the photoshop images are crisp vivid colours. The shapes in the imagery are geometric, so a smoother yarn would provide a better translation between this imagery and my work. I also need to reflect the compositions and proportions of a vibrant colour through the knit samples. The interruptions of the vibrant colour had been too formulaic in my samples, which didn't resemble the perspective in the spacing of the lines from my source imagery. 

 I made some yarn samples to match the qualities of the photos. I introduced three vibrant colours to break up the denseness of the dark blues. I found that I need to really focus on proportions of colours because that affects how well the colours compliment each other. They can also not work well directly next to each other although they work as a collection. I found that the yellow I chose looked garish with the shade of blue I had used.  

 To translate some of these vivid colours into my knitting, I looked at Ross Lovegrove's Renault car design. I am interested in the relation between the organic structures and textiles on the seats, with the contrast of hard and soft. This linked to one of my earlier concepts, and encouraged me to combine the punchcard patterns with the knitted structures. I chose to do this because I could control the view points by disclosing and revealing parts of the pattern view through use of multiple layers.The colours harmonise then interrupt each other with a vibrant intersections, which are similar to the lines of yellow in my photoshop photographs.