Mamba Designer Palette


The Lewis moorland  has been my greatest and most consistent artistic inspiration throughout my whole career. From 2006 to 2008 I spent time creating artworks for an exhibition based on it. I adopted Mamba as an acronym for the moor because the moor can be described as Miles and Miles of Beauty Astounding. Mamba has the sound of a dance – the rhythm of life itself.

I return to my Mamba works regularly and use them as influences for patterns and colours in designs. Working with the images and my Hebridean yarn is a perfect combination and so I think that many knitters will find the images a useful and inspirational source from which to create color schemes .

The  Mamba book contains images of all the works I produced for the exhibition, along with explanatory text and some written remembrances of my childhood out on the moor. I have put together a designer palette of twelve 25g skeins of Hebridean 2 Ply colours which can be used in a multitude combinations to create ever more patterns and colours inspired by Mamba. I based the palette on the Dùiltean (Elements) section of Mamba where I focused on the monumental forces which created the landscape. The images I created were a response to the trail left by glaciation and climate change over aeons, where mountains are thrust up and carved down over milennia by the power of water in both its liquid and frozen states.

Mamba is a full-colour paperback book (21cm X15cm). The palette containing 1 skein each of Solan Goose, Kittiwake, Driftwood, Spindrift, Golden Plover, Red Deer, Machair, Sea Ivory, Limpet, Mara, Shearwater and Summertide is shown here by a river in the middle of the moor where the power of water quietly continues to exert is liquid force.



Design for color knitting is like alchemy. When working with flat colours of yarn the designer needs a massive palette – of maybe 100 shades or more – in order to obtain pure gold. This is not the case with Hebridean 2  Ply, which I created in such a way that infinite effects can be achieved with small palette. I could use twelve shades in one swatch, and then – by varying juxtapositions and proportions – use the same twelve in another swatch to completely different effect. Such is the magical alchemy of Hebridean 2 Ply.



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