Adobe Color CC (Adobe Kuler) – I have found this programme easy to use and you can download your own photos or artwork to create colour palettes. I have downloaded a version to my tablet which I have found useful.
Mudcube Colour Sphere – this is a much more sophisticated tool, quite complicated and a bit out of my comfort zone. You can make colour palettes and find the Hex numbers of those colours. I have not heard of hex numbers but I understand that they are a 6 digit code that can be interpreted by computer systems to produce a specific colour.
Color Halipixel – This program uses a different method of selecting colours, you scroll around the screen until you find the colour you want, click and it will be saved and you can continue selecting colours. I don’t think this works with my tablet or phone as it is Apple based. Quite a clever design and easy to use.
Color Hunter – This is a free programme which allows you to create colour palettes from uploaded photographs and images. You can search by hex codes, image URLs and tags and lists favourite colour palettes.
CoIRD – A free programme that enables you to create colour palettes from photographs which are available for everyone to see and use. I don’t want to sign up to another application so I will keep this in mind for the future.
I have discovered that there are lots of apps that you can use to experiment with colour palettes, creating pattern and using special effects to alter your image and I have experimented with them for future use. I have used ones that are compatible with my tablet and are easy to use as I don’t need anything too complicated or sophisticated at this stage! There are also some drawing apps that I have identified for future use.
Adobe Capture – An application that is compatible with my tablet where you can download photographs and images and create patterns, shapes and identify colours.
befunky – A free app for phones and tablets, you can download your own photographs or images and use editing tools, effects and frames. There are lots different processes to modify your image and they can be saved to your own gallery or other social media.
For this exercise we were asked to select a good quality image or postcard of and Old Master’s painting. Old Masters were artists who were fully trained and worked in Europe before the 1800’s. I did some research on the internet and found that I liked the paintings of Sandro Botticelli (1445-1510) and that they fulfilled the brief with textiles as the focal point and distinctions between different colours. Sandro Botticelli was and Italian painter who was part of the Florentine School under Lorenzo de’ Medici. Botticelli is known as an Early Renaissance painter. I also had to research where I could buy a copy of his painting and which ones were available at an affordable amount. I bought a copy of this painting called The Virgin and Child and Five Angles from a well known auction site.
The original work of art is located in the Musee du Louvre in Paris. It is oil on canvas and was painted by Botticelli around 1470.
For this exercise I brought together all the bits of ribbon, embroidery thread, wool that I identified were possibly the same colours as in the image. I have a large collection of (junk as my husband calls it!) all these items stored in plastic boxes in my work room. It did take quite a lot of time identifying all the different colours and tones in the picture which is possibly not the best quality but was the best available to me.
The yarn wrap on the left side is the first one that I completed and I worked from the top of the image selecting the different colours and proportions I thought appropriate as I worked. I have used a selection of different threads, yarns, ribbons and fabrics.
The yarn wrap on the right side I have worked using the same materials but have wrapped in the order of light to dark.
Here is a list of the threads, yarns and ribbons etc that I have used in these two wraps. All these items have been taken from my collection some have been purchased many years ago or inherited and some I have bought more recently. The ribbons are also repurposed from packaging or those infuriating bits that are sewn into clothing to prevent them falling off the hangers which I cut out before wearing. Sorry the list is long…
28 – Bergere de France – acrylic yarn (no shade number – pistachio green)
29 – Crochet cotton – white
30 – Anchor Stranded Cotton – shade 306
31 – Felt (very pale blue)
For my third wrap I have selected a small section of the image and knotted threads together to match the colours of this section and their rough proportions to each other. I have then experimented with rapping the lengths of coloured yarns randomly or laying the threads down side by side.
Left hand photo is of the different coloured yarns knotted together before wrapping. Right hand photo is this selection of yarns wrapped unevenly.
Further experiments with wrapping the left hand photo is the result of starting the wrapping from the opposite end of the joined threads. In the middle photo I have wrapped lengthways and the right hand photo I have squashed the threads together.
I also experimented with laying the threads side by side as I have in my original wrapping exercise.
This exercise produced interesting results and even with small amounts of thread you can see how different colours work together and their relationship. Whether you wrap in a random manner or lay the threads down side by side, each wrap produces different colour combinations.
For this exercise I have used a sample of hessian fabric that has an open weave. I have used the same fabric in exercise 3.1 where I had to identify the colours in the sample.
Here we are required to extend a neutral piece of fabric in an imaginative and playful way, taking consideration of the texture and colour tones. This was quite a challenge and whether I have produced what was expected I really don’t know! My rendering of this exercise is whimsical to say the least but other than producing a painting of hairy fibres in a mesh pattern, I had no other ideas! I was pleased with the result which is definitely playful and original.
For part 2 I have chosen a new piece of printed fabric with white and black flower shapes on a red background. The colours on this photo are not quite true, the red is a slightly deeper shade and the white flowers have a slightly pink tint to them.
I have chosen to extend the design and make the flowers look as if they are moving or falling downward. The flowers at the top of the image are smaller giving the impression of moving away from you and the flowers at the bottom of the image are bigger and are elongated to give the appearance of getting closer.
As you can see my painting skills using gouache are not very good, the background is very uneven! However I do like the thickness of the paint and the matt finish to the paint.
I have had to do some research into colour mixing as I have found mixing paints to get specific colours a bit hit and miss and usually end up nowhere close to what I want. I found a book called “Getting the Most from the Wilcox Mixing Palette” by Michael Wilcox (ISBN 1-931780-23-4) which I must have bought from a charity shop although I can’t remember when or where. The author explains how colours work together and why when you mix certain colours you don’t get the results you would like or expect. He goes on to explain why traditional colour theory is flawed and how to mix a wide range of colours from a limited palette of six colours (Cadmium Red Light, Quinacridone Violet, Ultramarine Blue, Cerulean Blue, Hansa or Lemon Yellow and Cadmium Yellow Light). I found this book extremely helpful and I have learnt so much about mixing colour, what relationships colours have with each other and how colours are biased towards another colour.
Because I have not used gouache paints before I had bought a cheap set from a High Street store which gave me a good basis to start experimenting with mixing the colours in my fabric samples, however I found that I had to buy some specific colours to create the restricted palette described in the book. I did find these exercises quite time consuming as you think you have mixed the right colour then when its dried it’s not the same! I also seemed to have chosen fabrics with more colours than specified but I really enjoyed the process and learnt so much about which colours to mix together to produce the required colour. I did have to buy one more colour (Prussian Blue) because I could not mix the dark navy blue colour in printed sample 3.
When I selected this piece of fabric I counted 5 colours then as I started to mix the gouache paints to make the colour chips I realised that there were more colours because of the way the fabric has been printed and some I just didn’t notice until I really looked at it. I have laid the colour chips out in order of light to dark. The colour with the greatest proportion is the darker pink whilst the purple is the smallest.
I selected this fabric because it has a wide range of colours, more than the brief stated and although It was a challenge I really enjoyed identifying all the colours and experimenting mixing the gouache paints to match. The colour proportions in this sample are very similar, there is no one colour that has a greater proportion although the pale blue is quite dominant.
This fabric caused me the most difficulty as I really struggled to produce the background colour which is a really dark blue. I tried mixing ultramarine and magenta but the result was not dark enough, adding even the tiniest amount of black resulted in the blue tone being removed. I had to buy the darkest blue which was Prussian blue to enable me to mix a reasonable match. I think that the dark blue has the greater colour proportion because it is the background colour and is used in some of the motifs.
The neutral sample of fabric is a 100% silk woven fabric. This was quite a difficult exercise, at the start I thought there would only be light colours but because of the structure of the fibre and fabric there is light and dark. I am happy with my selected colours but I understand that others may see different colours to me.
This is a hessian fabric, the fibres are different colours which gives an overall colour range from a pale ochre colour through to the dark brown colour. I found with this sample that the different colour chips were formed from mixing the same colours but in different proportions. This was the first time that I had considered this. The order that I have presented the colour chips also represents the colour proportions for this sample.
Voyage Decoration – A British company based in Glasgow that produce a wide range of interior design textiles using British woven cotton, linen and wool fabrics. Their textile collections are inspired by nature with depictions of plants, animals, both wild and domestic and some patterned fabrics including checks which compliment the main textile scheme . The images used are designed and printed in a painterly, artistic way with a watercolour quality. They don’t have a restricted palette of colour but the use of muted colours and tones with accents of bright pink, mauve and green are part of their characteristic and allow the collections to be interchangeable.
Marimekko – Based in Helsinki Finland and registered in 1951 by Armi Ratia who found talented young artists to join her in her quest for new bold designs for her textile printing company. The company has remained fresh and innovative throughout the decades, with new designers bringing their own cultural influence into the patterns and designs. The designs are stylized images of flowers, plants, fruit alongside bold pattern, large spots and stripes. Colours used are often complimentry or monochromatic schemes which are vibrant and playful.
Mary Katrantzou – A young fashion designer who uses digital technology printing in her designs. Geometric patterns combined with historical art and objects of luxury feature in her work. Her use of colour is bold, vibrant, playful and slightly psychedelic. She uses colour to create a visual illusion, to play with the eye so you look at the clothing and not the person wearing it. Whilst she uses lots of colour in each garment the colour is not often used in large blocks but broken up with the construction of the pattern.
Wallace Sewell – A collaboration between Harriet Wallace-Jones and Emma Sewell established in 1990 producing woven textiles. They use colour in geometric blocks and stripes influenced by the Bauhaus period. The colours they use range from muted natural colours to bright pinks and reds. Probably the most well known of their work is the upholstery fabric used by Transport for London in their trains.
Cole & Sons – Founded in 1875 and produced block printed wallpapers. Today the wallpaper they produce is a mix of classic and contemporary designs featuring themes from nature and geometric designs. A lot of their papers use a limited palette, 2 and 3 colours, however there are a few contemporary designs that use a wider range of colour, which would suit the current trend for all white interiors with an accent wall decorated with wallpaper or emulsion. Each design comes in a number of colourways for example “Palm Jungle” has 7 colourways giving their designs a wider market range.
Norma Starszakowna – A Scottish textile artist who produces large digitally printed textiles which hang in groups displayed from floor to ceiling. The textiles have a mixed media quality, she uses text, rust marks and surface texture which is transferred in the print giving them a depth. She uses muted colours which are taken from her source material and with areas of contrasting colour which are used to communicate a mood or feeling.
Paul Smith – Trained as a tailor and worked on Savile Row designing mens suits before opening his own shop in 1970. His iconic band of specific colours set out like a barcode is probably one of the best known designer trademark logos. The range of colours used in his logo are also used in his clothing designs either in the instantly recognisable stripes, or as accent colours along side the more conservative colours of his designs.
Vlisco – A Dutch textile printing company founded in 1864 who produced roller printed wax designs similar to batik that became popular in West and Central Africa. They still produce their strong colourful designs which consist of geometric patterns and large motifs. They use a limited colour palette but the designs come in more than one colourway. The colours and motifs tell a story of the people, they indicate the wealth and heritage of the wearer and are a reflection of the landscape and flowers of Africa.
Ptolemy Mann – A contemporary hand weaver and dyer who uses stripes and blocks of bold colour in her woven textile designs. She uses stripes of a colour hue which blend into tones of that colour alongside bold blocks or stripes of a harmonious and complimentary colours. She has a very successful way of blending all these colours together to produce beautiful textiles that vibrate with colour. They are perfect textiles for the current fashion of all white interiors as they are so striking and warm. I think that they have a feel-good factor.
The colours are soft but colourful with good proportions of colour with some accent colours (pink and green) which add a dynamic to the design. The colours are appropriate because it is a painterly representation of British plants and birds, the colours also combine with other fabrics in their range. The design and colour palette are interdependent especially as they are part of a larger collection that can be combined with each other.
Marimekko – Unikko – the rebel flower designed by Maija Isola 1964
This design is of large bold simple flowers and is available in different colourways using either tonal or complimentry colours that produce a powerful stylised representation. The design is important in this example, bold bright colours add impact but it looks equally good in monochrome. It is a design that is still relevant today, 53 years from its conception.
Wallace-Sewell – 150th Anniversary throw for London Transport museum
This throw is designed using the same colours that identify the different underground railway lines on the London Underground, iconic colours understood by anyone who uses the underground system and possibly recognised by people around the world from the London tube map. This is such a clever way of adapting a predetermined colour palette that is still understood and is relative to the finished article. Here the colour is fundamental to the design.
This is a circular 100% wool hand knotted pile rug in which Ptolemy Mann uses the three primary colours of red, blue and yellow. These colours are used across the rug in bands of different widths and within those bands there are different tones of those colours. Her method of using colour produces a visually stimulating result, it has impact and vibrancy. Colour plays an important role in all her work, she studied colour theory and is a colour consultant.