Work on the Wall- (part 2)

    

Well back to Work on the Wall-

After working 'Raginnis Farm' on the twill tweed

I wondered how a striped tweed would look.

      'Raginnis Farm Field Boundarys'

   'RFFB'  (detail)

The weave and colouring of the fabric has assumed a greater significance.

To embroider a 'filling' on the field would (as my Grandmother would say)

"be too much of a muchness"

      'RFFB'  (detail 2)

                  To contrast with the linear striped weave I exaggerated the curves of the field markings.

                                                 

'Above Trevalgan Hill'

Using the sketches I made on the workshop with Andrew Hardwicke

I made field images using a totally different trajectory from the aerial map.

'ATH'  (detail)

The elongated field pattern needed a different approach to the stitching

I used a 'kantha', stem stitch type marking

building colour and texture

    'ATH'  (detail 2)

                         

 Sometimes the stitch is spare, sometimes diagonal

     and sometimes overlaid.

 'ATH'  (detail 3)

  French knots make up the foreground heather

                                                                           

  See what I mean!

  

St Ives School of Painting workshop with painter Andrew Hardwick

I used alot of different textures on the ground, including original soil and plant material.

                                                            

  Building up layers of colour

     The 'white' is actually PVA, which of course dries clear, 

      but then makes a very interesting resist

        when rubbing or glazing over the top.

                                                       

And sometimes I paint!