Part Four: Analysing colour, texture, proportion.

The chosen source material was a handful of Pot Pourri spread out on a sheet of white photo copy paper. Using water coloured paints similar to the colours of the pot pourri was stressful but due to the paleness of the shade only partially lifelike. I now realise that there are many other types of pot pourri and a lot more exciting than the ones I managed to source.

By changing the amount of the chosen colour and the amount of water it was possible to create a stronger hue giving a more substantial effect to the painted image. This change was able to be matched with selections of photos from glossy magazines. This colourization was then transferred to a piece of compressed dacron backing. The colour was representative but the texture was much more prickly than the slightly coarse and rough surface of the pot pourri.

I do admire the colour range and tonal changes within these autumn colours shown on the colour card of cotton patchwork fabrics. Once again I realise that the subtle changes in tones are not always available in the basic set of paints or fabrics commercially. I seem to be able to make do though with what I have for sampling and experimenting but would need to broaden the range of materials if I was contemplating  some more demanding results from a textile piece.

There comes a point where the practicing student has to decide just how much is enough and the need to hold stocks of materials for some later possible project which may or may not eventuate.