There is a paradox at the heart of selling your work online, it feels personal and local and yet it is actually global. I am not sure whether this aspect of exhibiting and trading has prompted the setting up of ‘supporting/sharing’ platforms such as ukhandmade and the like, or just added fuel to the fire. But here in the UK as in many different countries there is now quite a movement to promote a region’s handmade, locally created products. This year (2014) ukhandmade have decided to produce a Valentine Show Case and I am delighted to broadcast that one of my scarves has been selected for their promotion (that’s the bottom one here).
Yesterday I was reading a post and accompanying comments from Juliet Macleod’s blog, the Cloud Pottery discussing the choices of different clays for pottery. One of the contributors mentioned ‘extra white stoneware’, and said, “it’s definitely not as white as it used to be”. How timely, I thought to myself, as I have just been notified that my supplier of square, silk twill blanks are no longer stocking my preferred 90 x 90 cm size. And, the option to go direct to the Chinese supplier in Shanghai is not viable as a minimum order of 1000 pieces is required. More change, things are definitely not like they used to be.
Silk is similar to any raw material as it comes in different grades, weights and weaves and that is before you start to consider colour. I am not sure how often people read the textile labels when buying clothes and accessories, but if you do, you will see percentage fibre contents and for a silk item it normally just says 100% silk. Of course you can find specialist woven textiles where silk is woven with wool or cotton, or there are more complex, multiple fibre mixes that add some silk threads to the weave to add lustre to the finished textile.
But, most usually silk as clothing is sold as pure silk, 100% silk. Pure silk is the epitome of luxury textiles with a long and fascinating history including the establishment of one of the greatest trade routes the world has ever known – the Silk Road. And, with my Art Historian’s hat on, over the centuries silk has been the medium for the transmission of many Chinese and Eastern designs and motifs from the East to Europe and the West.
Silk is available in many different weaves and patterns from the simplest tabby/plain weave to complex figured fabrics such as damask. It is sold in mommes (mm), pronounced mummies. This is a measure of density as opposed to purely weight. That is kilograms per metre square. Originally it was equal to the weight in pounds of a bolt of silk that was 45 inches wide by 100 yards long regardless of the weave. Nowadays, silk is sold between 3 mm for a light gauze right the way through to 40 mm for a heavy, raw silk cloth that looks like a coarse linen.
As a silk painter for most of my designs I like to use a silk that is woven to give a clean surface and I particularly like to work on twills or crepe de chines that are between 10 mm to 14 mm giving the finished scarves a good weight that falls well. Also, as a matter of personal choice although I think satins and charmeuse look beautiful for evening wear, I prefer the gentler lustre of twill or crepe de chine for normal everyday scarves. Despite my last declaration, I do have to admit to owning a couple of showy silk chiffon scarves that I’ve been known to wear in the daytime to the accompanying remark, “Oo, we see Agnes is glammed up today – what’s the occasion?” Actually, there was no special occasion, but sometimes you just need to brighten yourself up a bit – and why not?
Brilliant, vivid colours are not to everybody’s taste, but some people live technicolor, dynamic lives and appear to have larger than life personalities. For those opera stars fuchsia pink and scarlet seemed the natural choice.
A little bit of scorching colour doesn’t do the rest of us any harm during a grey, miserable January – so I give you pics of Peacock Wave Pink (no longer with me as this silk scarf was left at the Stage Door).
The enduring appeal of the peacock display of colours recently caught my attention and prompted me to venture into a so-called forbidden combination. I think I first heard my Nanna declare ‘Blue and green should never be seen’, when I was a child.
How ridiculous, obviously nobody told the peacocks. And, when you think about it blue and green has been a popular and classic combination for centuries!
Dragonflies also come along in blue and green combinations providing even more inspiration if you find that splendid peacock not enough.
It is strange how in our 24 hours a day wired and connected world we can not truly escape nature’s deep, slow rhythms. This November I’ve been working on some scarves in a range of colours I thought I’d chosen as I’d seen this pleasing combination from the Canadian Interior Designer Jane Hall of Jane Hall Designs.
As I have mentioned before, when I’m painting I often listen to an audiobook and for a couple of weeks I’ve been listening to ‘Wolf Hall’ by Hilary Mantel. She has a superb historical imagination and a descriptive writing style that evokes a sense of place without being overdone. As I was busy preparing my autumn colours I heard this phrase from Wolf Hall
“wearing their fallen fruit silks of mulberry, gold and plum”
Reflecting on the natural colours of fallen fruit retrieved from the fading garden and looking at the colours I’d mixed up, I realised how unconsciously I’d absorbed and then responded to the changing scene. I’ve had a few peaches, figs, apples, pears and plums filling the kitchen fruit bowl from this year’s domestic harvest. It’s been the best year so far for the fan pear, though I have lost all the cobnuts to the squirrels, again. But what a bonus – the muted colours of fallen fruit.
In the hands of a master the most simple images can come to life and spring out of the past with uplifting vitality. I know it is, as usual, down to personal taste, but I think this oil and coloured wax picture by Paul Klee has its own intense energy that grabs your attention. Anyway, I have attempted to plug in and channel some of the energy for my own work by using his restricted colour palette for a painted silk scarf.
Although the colours are quite similar and I’ve used them in roughly the same percentage, it is nevertheless definitely very different.
Then I thought I’d use the basic overall design, but with different colours.
Every now and then I’m asked to create a silk piece guided by the colours and decorative qualities of a non-textile form. Sometimes a commission is quite personal, a customer may wish to have a special scarf to remind them of a person or a pet or an event. Or sometimes, and this is more difficult, a sentiment.
People often turn to nature and, in particular, flowers for inspiration for silk painting, but I suggest shape, colour and the decorative details from other human made artefacts can also elicit visually creative solutions. In order to get a firm idea of what a person is looking for I suggest they select pictures that fit their mood. Often beautiful glass and ceramics are a rich source of inspiration and can be reinterpreted and reworked to produce the type of scarf that they are looking for.
I hope you can see that this beautiful Wedgwood Fairyland lustreware candlestick with its intricate design and translucent glazes was the ceramic inspiration for the ‘Guinevere’ silk scarf. Previously, I wrote a little post with info/history about Wedgwood Fairyland lustreware. https://agnesashe.wordpress.com/2013/09/01/wedgwood-fairyland-lustreware-beautiful-charming/
When undertaking a commission the easiest way for me to understand a client’s wish is to ask for a ‘mini’ mood board. This can be a small postcard-sized piece of card covered with torn pieces of magazine pictures, snippets of cloth, small cuts of wool and screwed up cotton thread that give me an idea of the colours required. In the past when one customer wanted a scarf to complement her new winter look she gave me a snippet of cloth from the inside seam of her new coat.
However, more recently, the wealth of beautiful photographs on the Internet, has allowed mood boards to be generated very easily on platforms like Pinterest. The advantage of this approach is the ease with which ideas come together. Unfortunately, the downside is that accurate colour portrayal of ‘real-life’ on screen is notoriously unreliable and even the same image across different screens/devices can vary significantly. So, if an accurate tonal range is critical then an old fashioned, mini mood board is still best.
With the light shining through, early medieval stained glass panels photograph well (if not too high up in a window!) and the frequent use of bright reds and blues imparts a recognisable aesthetic. It is such a strong visual form that it was easy for the Victorians to mimic and then extensively develop in their Gothic Revival church windows, and, is probably what springs to mind when most people think of stained glass.
With my Art History hat on my personal preference is for the work of the late-Victorian Christopher Whall particularly his early 20th-century windows. This example panel depicting St Chad dates from 1901-10. It is now in the V&A Museum, London, and is from a collection of stained glass produced for a commission for a new window in the Lady Chapel at Gloucester Cathedral.
The other week I worked up a design by looking through many Japanese woodblock prints and selecting a number of Ukiyo-e images as inspiration for both pattern and colour. The end of the process was a blue and green scarf also currently my banner above.
I liked the finished look and decided to work the pattern in a new colour combination and started from nature’s beautiful pink and yellow combination in this poppy with the added golden detail of the hover flies collecting nectar.
With the poppy in mind I started looking round building a collection of images with pinks, gold and black, starting with work by fine artists. Next I delved into contemporary visual culture from all over – here tea towels, table decorations and masks.
Ah yes, inspiration this time came from another kind of ‘floating’ world, Venice, and their famous carnival and masked balls. Sumptuous colour combinations and fascinating, ornate detail were now the recipe for the day.
And, here’s the finished work.
The painting of my new banner is now completed and has been left overnight to ensure it is entirely dry.
It has been rolled in paper along with three other pieces, steamed for three hours, washed thoroughly, pressed and is now finished. I think it is very clear which prints contributed most to this creative process. Oddly, it’s all blues and greens considering the starting point was the photo of a pale pink hollyhock.