At each stage of my development it was important to hang the fabric designs up in layers or lay them flat on the floor, taking photographs and sketching out my ideas for composition and design of the layout. I tried various fabric paints to create a colour palette, using my artistic licence, to represent the colours of a dust storm. Next I then tried to give my work an overall look, thinking about the negative space and positive space between each image in the design. The outlines of some of the images were also an important factor, as they helped the animals to stand out.
I wanted the fabric to look fragile and transparent from a flat surface to a 3d surface that moves and undulates with its own unique quality. Some of the illustrations included finely stencilled details using a flocking technique to provide a contrast and texture. The printing technique is delicate and gives me a more painterly approach to the textile art. The surface of the fabric that I print onto is manipulated and changed by these techniques. Qualities of light and colour are observed on the land and in the storm, along with shadows, that hold strongly contrasting shafts of light, are explored though these veils.
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