Finishing color palette from yesterday. I did quite a few color development stripes to see all colors I found. Later I picked 20 that I liked most and from those I have chosen only 11 (ideally I should have chosen only 10 but I couldn't decide). From those I did bigger stripes of color samples to do a "mix and match" wheel of colors. I was experimenting with various combinations of the colors, which are all recorded below on pictures. 
My final color choices are:
Light blue- to show the concept of polluted air 
Navy blue- also responding to the idea of pollution but darker 
Burgundy red - to keep in mind the references of Soviet factories; red as a color of Socialism; not that intense though, simply because I feel that the darker one is more appealing 
Lime (or light green, it is a hard to define color) - to show the mesmerizing and glowing colors of pollution, almost a sense of radioactive color or a kind of danger connected with it 
Having done that I went for yarn research. I was recommended to go to handweavers to look for yarns. I found few that match my color scheme really well. I also found a great, chunky wool that would be perfect for nalbinding- after recent experiments I understood that it works much better with thicker yarns. However, the wool is white so I have to dye it and see which color would be best on it. I also did research for dyes in Cass Art and Ray Stitch. 
Having in mind the idea of painting the air and the print that would be dissolved I choose white, acrylic yarn that would catch the paint from printing. I need to see if this works but first I need to develop any ideas for it. I think of using this old fax that I destroyed previously to do some collaging paper for classes. I did not use the paper for anything but the idea remains. This would be also an embodiment of reusing old pieces of machinery to create a textile- just as Bonotto does for with the fabrics but in a different way. The dissolved parts would be almost like old discarded and broken machinery- parts of it are always separately and they don't create any exact whole. This makes me think that maybe the print should be originally more defined and realistic (just as old machines are before being broken) and then it will become dissolved by reknitting the yarn (almost as a metaphor of the tension between machines and crafts- crafts dissolves machinery and puts it together into something new (a new print), both machinery and hands work alongside each other. It's really poetic in my opinion and somehow mesmerizing. Makes me really interested in this topic.
Evaluation of this stage of the project:
What went well?
I have chosen a color scheme that represents my project in a different, more considered way. I'm really satisfied with the new colors, because each of these represents something different and meaningful in my project context. My time management also worked, because I visited few shops despite short opening hours and a long distance to go.
What did not go well?
I didn't found exactly same thickness of wool as the green one I was using before for fringes and nalbinding. I got some that is thicker but it's white, so I will need to dye it and see how it works with nalbinding. I think I will also have to do a bigger nalbinding needle that will be suitable for this thickness. 
How can I move on from now? 
I need to organize the thread research in my sketchbook and figure out which shades of red ( I bought few different to find one that is closest to my scheme) go best with other colors. I need to dye the wool, identify what measurements of dyes give exact color from my color scheme, dye bigger pieces of wool in each shade and then nalbind with all longer pieces to see which option gives best results. I want to choose just one nalbinding option, or maximum two, because I don't want to get tangled up with colors and thicknesses of yarns. For lucet and sprang I want to stay with using hand knitting wool, because that's the thickness that goes well with those techniques. Using a thinner type of yarn would result in those techniques being even more time consuming, which would be too much. I have already lots of ideas and techniques involved, many textures and colors and I feel that I should start editing it down, because I'm getting confused and lost in all of these. The final piece must look good, but to achieve it I can't get tangled up with my own ideas. I would simply overdecorate the piece without any purpose. I have to stay moderate and don't get too carried away. It's also a part of editing which I believe is crucial for independent study.

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