This was an interesting practice of analyzing my knit samples as a whole in order to see how well they corresponded with my point of departure, the Munch painting. It was mostly a case of looking to see whether I had used all the possible colours within the painting or whether, as was the case for me, I had concentrate too many of my samples on a certain colour group or only dark colours. I lack many of the bright colours but especially one coloured samples to add calm and bring the collection together as a whole, such as the white snow, the dark green of the trees and the grey of the sky, Cora suggested I do some plainer, simple jersey samples as opposed to always trying out complex knits. On reflection I should have probably got my samples out nearly everyday to see and keep up to date with which colours and techniques I had already used. Remaking the colour composition of a painting through knit samples is still a rather unfamiliar and unusual concept to me. It definitely sets you defined boundaries which I suppose is good as otherwise one could get carried away with sticking to one particular colour, a problem which had troubled me during previous projects at Chelsea. It is however a little frustrating when you are wanting to try a technique out with a particular yarn. As the school do not have a very large colour selection in each yarn Cora will ban you from using it!
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