The importance of yarn wrappings

I have muted my colour palette this week because I have revisited some of my older yarn wrappings. The wrapping are more tonal that colourful. I have done this because I have zoomed in on small areas of my drawings that have texture that can relate to yarn textures. I have found that creating  yarn wrappings has improved my work because I have considered proportions of colour that I can directly transfer to my weave samples.

 Margo Selby's work inspires me because of her colour choices are complementary and are limited in the palette. Her work is tonal which I feel my work has become, as my palette was to contrasting. I found that cropping my images of my drawings helped me to focus on the shapes and movement in the drawing and painterly marks I made.

The Beginning of Weave

By starting weave I have started to question how to relate my samples to my drawings and draw to influence my weave samples. I have selected a range of yarns that link to my mood board colour swatches. The colours look autumnal together which doesn't relate to my vibrant drawings. I have sampled some different shades of green to make the samples brighter. I found that the chenille yarn gives a good affect because of the way it fibres all reflect the light differently that gives the weave another depth.


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Levi's Series

A series of weaving commissioned by Levi's. Woven with denim scraps from the Levi's San Francisco tailor shop.
Denim and cotton yarn on copper rods.
Handwoven in Los Angeles. Brook & Lyn

Brook & Lyn's woven textiles are visually pleasing because of the way the compositions divide the space with shape and block colour. I am intrigued by the texture in their work, so i have developed my samples with some textured floats to make the block of colour and the weave three dimensional. 

My weave

My textured weave