This week I selected out colours from my grandpa's memorabilia, the war museum and 'Amelie'. I named them so I could tell where they had come from. I then whittled down my choices to 7 colours for screen print, and an additional 6 that could be used to add detail via embroidery and in digital designs. It turned out that the colours I chose were all from the war memorabilia rather than 'Amelie'. They are more sinister as a whole and go well together. Some colours do appear in 'Amelie', but they weren't the ones I selected out.
I made these using a Photoshop brush, but the squares weren't aligned correctly, so I asked Alex for a way to do this. Once aligned the palette looks neat and professional, and adding the names make them feel like a collection.
Copyright Leahna Robbins Fleming
I had started drawing before choosing colours, but quickly realised that I was limiting them as I went, and to make my drawings work I needed a range to work from. This is a selection of the ones that work best in terms of texture, detailing and shape.
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| The right hand knot would make a good motif and the colours work well |
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| Series of Parachutes, I tried to add texture and stop them resembling parachutes |
Alex pointed out that a lot of my drawings are to do with fastenings, so I could create the illusion of fastenings on a single piece of fabric. This would be easier to play around with on Photoshop first before trying to apply it in the print room. Workshops this week have extended my Photoshop skills and I have learned about professional presentation for print for an interiors setting. This got me thinking about contexts; because I want to try using thinner, more delicate fabric, a good application for my work would be thin, net-like curtains, either for the home or for a business setting.
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