mount board is like weft

posted in: Blog | 14

It doesn’t matter how much sketching, yarn wrapping and other experimentation I do, once I get to the loom I usually find that my ideas about weft need serious adjustment. It turns out that my ideas about mount board are in the same category.

Setting aside the issue of the pins for a moment, I ordered a frame for the first sampler — just the one frame for starters, until I could see how it turned out. The frame itself is ash and exactly what I wanted. In fact, I love it. But when I came to mock up the sampler-within-the-frame I wasn’t quite as happy.

I had imagined a plain white mount behind the sampler, with the half-formed idea that this would look good against a plain white wall. But the first three “shades of white” I tried made the natural colour of the merino wool look grubby. Oddly, to my limited understanding of these things, the most bleached and synthetic sort of white is the most effective. None of the bits in the assemblage are “nailed down”, so to speak, so it has to be flat on the table rather than up against that plain white wall, but this is more or less what it looks like:

Not quite convinced, I got out my collection of coloured foam sheets and started trying different colours under the sampler.

Magenta looked good, as did forest green, but I wanted to stick with neutrals. So I went along to the craft shop with sampler in tow and came back with two alternative boards. There’s the chocolate brown…

…and the gold (which looks more like a matt ochre in the photo, but it is honestly a shiny gold):

Trouble is, not only do I like both of these, but I’m warming up to the white mount as well. I think my original expectation of how it would look has started to wear off and I’m better able to see what is in front of me. But I have all these new decisions to make! For instance, am I going to mount all the samplers on the same colour board? I had assumed that I would, but now I’m not sure… The argument for is that I wouldn’t have to decide on a single colour for all — the argument against is that it would lead to four separate colour decisions!

If you’d like to pitch in with colour opinions, I’d be delighted. Or confused. Or maybe both? I’d love to hear your thoughts in any case.

mount board is like weft” was posted by Cally on 1 August 2012 at http://callybooker.co.uk

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14 Responses

  1. Diane B
    | Reply

    Personally, I really like the dark brown – it really draws the eye to the sampler itself. The gold is good too, but it is close enough in value that the whole thing (frame, mat, sampler) are in focus (at least for me)

  2. Amy
    | Reply

    hi Cally — to my eye, the chocolate brown does the best job of drawing the eye to the inlay motifs. If you want the weaving to be a stronger focus, I’d go with the darker value contrast (ie. chocolate brown). And my personal preference would be to mount them all on the same colour, so that they can be hung as a set, or separately. But that’s purely personal preference.

    Whatever you decide, they’re beautiful! Thanks for sharing the journey.

  3. Charlotte Engstad
    | Reply

    I vote for the dark brown!

  4. Kerstin
    | Reply

    Being me, I say “why use one colour, when 10 will be so much better”! (Meaning, I suppose, different backgrounds would add interest)

    Kerstin, who rarely warps with less than 4 nuances at a time…

  5. Laura
    | Reply

    Darker value, whatever ‘colour’ you use, I think….
    cheers,
    Laura

  6. Dianne
    | Reply

    Isn’t that interesting – the choice of the dark matt by most.
    Dark recedes and on my screen the weaving looks shy and retiring, the gold elegant and the white makes the weaving pop.

  7. Dot
    | Reply

    My favourite is the chocolate brown, the strong contrast makes the dark colour recede emphasising that this is a 3-dimension work and not a flat image.

  8. Meg in Nelson
    | Reply

    Is the gold matt very similar to the gold thread in real life??

  9. Sandra Rude
    | Reply

    Definitely the dark chocolate! And to spare yourself decisions, do them all the same. It will make a lovely grouping if they all share the same look.

  10. Cally
    | Reply

    Strong support for the dark brown, then!

    Kerstin, you’re a woman after my own heart: when in doubt, add another colour! I think I probably will do them all the same, however — although until I see them all it’s hard to make a final decision.

    Dianne, I’m glad you’re willing to express a different opinion. I wish my photos did a better job of conveying the positive qualities of the white and the gold. I think they look more effective in real life than they do here.

    Meg, the gold is very similar to the thread. I reckon it works best with the samplers which have the lurex inlay — when there are just the gold tie-down threads it is not as striking.

    Of course the brown is the most expensive board too…

  11. Trapunto
    | Reply

    The dark brown comes up a brownish grey on my monitor, and it is perfect. Before I read your post I was going to say, “Ooh, go with the gray one!” (as long as not displayed not on a dark wall). But then of course your weaving and frame will have been similarly distorted by my technology, so I remain opinionless!

  12. weaveblah
    | Reply

    I find I would choose either the gold or white.
    Thanks for your interesting post.

  13. Cally
    | Reply

    Thanks for all the comments on this. I’m busy mounting the other samplers so that I can try them all against the different colours before I commit.

    Interesting about the grey appearance, Trapunto – I did try a grey (well, several greys, as you do when in a craft shop…) but it didn’t work at all with the cream tones of the weaving. The brown is quite a blackish brown, though, rather than a reddish brown, so about as close to grey as I could go.

  14. Margreet
    | Reply

    Difficult to judge from the photos but I think I would lean towards the gold. It looks like there is enough contrast to bring out your weaving at it’s best.

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