Sunday, 11 May 2014

Stage 3: Reviewing materials and processes

Looking at the samples in combination:

Lovely translucent effect, like seeing seaweed through water.

The brown and white discs through the knitting holes makes the rest of the background look foggy by contrast. The fluffier grey knitting is intensified and mysterious, creating a barrier, where the string loops take the eye through them to the background instead.

A similar thing happens here, with the eye being drawn through the key hole and blocked by the horizontal woven bamboo yarn.

The subtle green on the right adds atmosphere but not depth, while the pink gives perspective.

The distorted weave is made more organic-looking by the loose ends.

This combination creates a lovely flimsy translucency, which I did not expect because of the physical nature of the weaving sample.

The darker vertical stripes actually seem to intensify the details and contrasts of the underlying weaving, rather surprisingly. 

I like the way the folds in the cotton give a graduated change in translucency in this one. And the contrast between this and the simple but wriggling lines in front.

Not the most evocative though.

Looking at the way the lines cross, and the effects their crossing has on the translucency.

At one level it looks boring as a tablecloth, and at another, could be used to make something magical.

Worth exploring more.

The gutta pattern comes through the layers of organza like a watermark.

The distortions of the melted net add a magical, dewy quality to the printed image, making me think of holes in the barrier between us and something unknowable. 

Finally, the wriggly lines and lace seem to be made for this, adding nicely to the messy illusion.

The combination of sewn lines and layers of fabric is one I would like to explore further. 

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