This study in pointillism with stitch, using french knots took an amazing amount of time to do. Once again, I started in one way and decided my colour was pale, so I took a stronger hue which I think is purer.  I used wool, embroidery yarn and ribbon. Heyho embroidery yarn is so tiny when used in this way and it took a long time to cover some fabric.  I then added some violet/purple as my additional colour to see the impact.

In these studies on colour I have also become aware that the photography is so open to misinterpretation. Not only do the pieces have differing colour impacts dependent on the amount of daylight etc, but the exposure from the camera and IPhoto manipulates the shades so it is impossible really to determine an exact impact. I guess that has been a big learning point from the Stage 5 work which I started in the UK and finished in Bahrain, and the light for this exercise is therefore a ‘view’ not necessarily a reality.  My actual piece of work looks very different to the photo and to those seeing it for real.


1. The blue wool is very intense and solid in impact when closely stitched (the centre of the piece). The density and the thickness of the stitches gives a change in texture and the light captures dark/bright/almost black to a lighter blue. The general blue is a matt absorber, the curves on the stitch reflect light more.  The red fabric is unseen.

2. Where the blue wool is less dense and more spread out, the colour is strong and sharp, but still with the curves reflecting light more, and the darkness inside.  The colour is reflected onto the fabric, You can seen shadows which are a deep violet shade, and matt. In some movements of the piece, the shadows look like lines that link, like spiderwebs. The fabric is only red where the light hits it, and indeed in some ways it becomes pale, towards white in contrast,but with the dark shadows on the other side.

3. Where the wool meets with the ribbon, the wool is darkened to almost black and has limited reflection. It contrasts with the shine and silvery light shooting from the ribbon curves. Base red fabric showing through is purple and highlights the blue shine strongly.

4. Wool with embroidery floss appears strong and solid. It appears deep and heavy textures.

5. The embroidery yarn provides a compliment to the wool and highlights its texture as well as the colour. The pearlised yarn in contrast is reflective, almost shiny, it appears grainy and speckled with tones. As I worked on it it seemed to be the stitch effect for depicting the light lichen/seaweed on rocks on the sea shore.  I wanted to change the colour and move to greens and yellows!

5. When the  embroidery yarn is dispersed stitch,  the red fabric is stronger but the blue is a complete contrast, it does not blend. There are shadows of dark red/purple and some light red again, but not so strong in impact as the wool.

6. Adding violet wool highlighted the red fabric, and the tones complimented each other more than the blues and red. Blue stitches from all the yarns stood out and  were not diffused. In a darker evening light, the violet almost disappears into the red and the blue continues its dominance.

This study is interesting both in colour and texture. The different yarns have a different colour interpretation, dependent on their thickness and their quality, the changes from wool to cotton to man-made plastics ribbon.  These qualities are developed by their positioning with respect to each other,and then give differing intensities of colour but also of depths of texture and shape. The base fabric impacts on these qualities too, and it becomes a changing dimension.

I feel very aware that this is just scratching the surface of the impact on shading, yarn impact in terms of reflection, and there is a big learning curve ahead. The pointillism of the impressionist painters is hugely important, my words are not strong enough to reflect that. However, in fibre/textile arts, the base fabric and the wide range of yarns increase the options incredibly. I am now overwhelmed.