Sometimes I stick quite closely to my source inspiration as with the first two of my recent Edlyn series of silk scarves. Picking a panel and details from one of the panels of the St Edmund’s rood screen and working up a design.
But sometimes I get diverted.
After I have drawn out some patterns and motifs a few times I start to wander off down my own road. I think it is a similar to when authors say that their characters somehow take on their own lives beyond the control of the writer. I feel this scarf is my version of my ‘visual’ characters marching off in their own direction especially regarding the colours.
This affair is probably better shown than described. As you can see from the photographs, the outline drawing still has a feel of the medieval panels about it, but it is loosening and the choice of colours has clearly moved away from the rood screen originals.
The creative process is not entirely describable, but here is the finished silk on the frame.
I shall be joining a host of other crafters selling their work at Blackthorpe Barn on the weekend of the 24th & 25th November 2018. My most recent pieces inspired by the medieval art adorning St Edmund’s Parish Church, Southwold will be available.
If you are within striking distance of Bury St Edmunds turn off the A14 and come and see all the great work on display . . . . And, say hello!
Here is another of my Edlyn series. Working with the same design, but this time choosing colours from another panel.
I rather liked the melancholy of the ‘David with harp’ panel and I thought the blues, the very pale grey, and the faded lilacs seen on the surrounding woodwork would make an interesting scarf.
Adding more colour to imitate the golden feel of the original David panel.
At this stage again as with the first of this series, the colours were all looking too clean and all more 21st century than 15th century. So I used my hard bristle brush again and swept lightly across the silk with a thickish greeny-grey resist over the blue.
And, finally I added black dye to the background to give the overall design some depth.
The piece was finished and ready for steaming.
And here’s the scarf after a couple of hours in the steamer.
When I last posted about my Edlyn series I had just begun painting the first Edlyn scarf.
With continual reference to my photograph of the Isaiah panel of the rood screen, I began selecting my colour combinations and mixing up the dyes. Then I started painting.
As the colour was added the whole piece began to take shape.
At this stage I felt the painting looked too flat and clean, so with a wide stiff brush I added sweeps of thick, brown resist to give a hint of ageing. Edlyn gold is now finished and awaiting steaming.
Even though some of the High Street shops and supermarkets have had a sprinkling of their Christmas stock on the shelves for a wee while it’s not feeling wintry quite yet. And, as I put back the hour on our clocks this coming weekend for the end of British Summertime, I will remark as usual that it is only a couple of months to Christmas.
The thought always comes as a surprise to me. All of a sudden it’s family arrangements, stir-up Sunday and last posting dates.
I am not sure why I am surprised as Christmas does come round ever year on the 25th December! And, as soon as Halloween is behind us it is the main event on the calendar. This year I will be at Blackthorpe Barn again just outside Bury St Edmund’s, Suffolk, for their British Crafts 2018 weekends.
I shall be there Week Three, the 24th and 25th November. Here is the full List of makers who will be attending and selling their work in the handsome sixteenth-century barn during the course of the six weekends.
Four years ago during the autumn of 2014 I blogged a sequence of posts relating how I was inspired by the Ranworth rood screen to create some silk scarves. Now is that time of year when I turn to looking at all those warmer, rich shades of autumn and feel the need to work with old gold and dusky damsons. Or, as Hilary Mantel so beautiful wrote “wearing theirfallen fruit silks of mulberry, gold and plum” when describing the gentlemen’s clothing at the Tudor court.
Looking at my recent photographs of another medieval rood screen this time in Suffolk, there is much to admire and inspire. Despite its age, over 500 years old, the screen at St Edmund’s, Southwold still has a wealth of medieval painted panels filled with faded colour and I have found plenty of inspiration.
Firstly, I decided to work with a delightful motif repeated on the cloak of the prophet, Isaiah. I copied the motif and worked up a whole scarf design on paper before using three templates to transfer the completed work to a square, flat crepe scarf.
This part of the process is surprisingly controlled to ensure I get balance and movement across the whole scarf. Next it is time to add the specific details, drawing lines and shapes using the gutta resist. This part is a little more loose and random as the resist flows freely and quite rapidly from the applicator pipette.
Finally, once the outlining is finished and has completely dried the softer and unfettered painting can begin. This is the first of my Edlyn Series of silk scarves inspired by the St Edmund’s rood screen.
Recently, I have been reading about the traditional Japanese skill of Shibori. You’ve probably seen examples around as it has become very popular.
Shibori is a dyeing method that involves folding and binding plain, undyed cloth and then submerging the knotted cloth in a dye bath (traditionally indigo) to produce a patterned textile. It is a kind of tie dyeing and has been practiced in Asia and Africa for centuries. The process has been fine-tuned into a classic textile skill in Japan. Indeed the word Shibori comes from the verb root ‘shiboru’ which means to wring, squeeze or press.
I thought I’d have a go using a plain white, long, crepe de chine scarf. As it was a long scarf I first folded it four times to create a small square which I then pleated and bound into a sausage. I didn’t use a dye bath, but soaked parts of the sausage with two colours, magenta and a chestnut brown. The dyes were then fixed by a short burst in the microwave instead of the usual two hours in my big steamer.
Above is the result after the first microwave fix. I thought there was too much undyed white. It appears I didn’t soak the silk sausage with enough dye. There are some interesting patches of blending, but the whole scarf looks too much like basic tie dye. However, I did think it would make a good background for some overpainting with pale colours. Once I had finished painting the scarf I removed it from the frame, loosely folded it up and microwaved it again.
I found microwaving silk not for the faint-hearted as despite always including a small dish of water, the silk gets very hot indeed and there is a real risk of scorching and even catching on fire! It was a relief to plunge the hot silk into the cold water for a quick rinse.
After the usual washing and pressing here is the finished result.
In the third and final part of my series about painting layers on silk I have turned my attention to the challenges of starting with darker backgrounds. This is a design that I have painted in more than one colourway. The black and pink version sold, but this royal blue and green has had very few clicks and I have decided that perhaps it’s the zingy green that’s the issue.
So adding a little black to some of the royal blue.Then overpainting the greens with a soft, pale brown to give some depth to the leaf design and knock back the green a bit.And, here below shows the contrast between before and after halfway through the second layer.Finally it’s all done and ready for steaming.It appears a little muddy in the pictures, but in real life the finished look is more subtle than the original, plain, strong greens and I think for that reason more effective.More photos of the finished scarf can be seen on my shop. January 2019 update now sold.
In a recent post I uploaded photographs of the layering process. I used green dyes for the new top layer on a square silk twill scarf. Here, is another combination of colours on the same original coloured background, but this time on a long scarf.
I have used the same approach, drawing on a new set of motifs,
then adding the colour. This time I have used the greens and bronzes,
but have changed the whole feel by adding a rich rose pink and a pale powder pink instead of the lemon yellow.
I think the finished scarf is now a more dynamic, flowing piece.
It is available from my online shop. 2019 update now sold.
It is time for changing two or three older pieces of work that haven’t sold. I am happy to say that overpainting previously painted and steamed silk can give some very pleasing results. Here a (boring) pale cream, lilac and blue combination is transformed.
Firstly with a new set of motifs applied.
Then painting in with another range of colours, this time greens and bronze.
Gradually the whole square is transformed. It is a creative process that generates some intriguing overlapping combinations of colours.
This is not what I was going to blog about today, but I need to have a little, or not so little moan. This is how my morning started. Firstly, I received an email from a company asking me if I’d like to get my shop on the ‘1st page of Google’. That is, as you probably all already know, the first page listing web links when you do a Google search. Of course, naturally the listed websites depend on what you are searching for. I would be horrified if you were searching for ‘compost caddies’ and my webpage or image of one of my scarves appeared in front of you. Usually in the mysterious world of Google algorithms and SEO (search engine optimisation) simply typing in a few keywords is enough to generate the right useful links. As with much of life you are first hit with the ‘paid for’ advert links with Google and then, what Google call, the ‘organically’ generated links.
Just now I did a Google search to check if my shop was on the first page (I don’t pay for adverts). The search terms were ‘Hand painted silk UK’, results below.
There aren’t many of us in the UK painting and selling one-off silk scarves and my shop is usually on the first if not second page along with other similar silk artists/painters. However, first thing this morning my search also threw up a link to the ‘Paul Smith’ international fashion business. It was the use of the words ‘hand painted’ I think that triggered the link.
You can call me a nitpicking pedant for this comment, but here goes. The original design for this mass produced scarf was ‘hand-painted’, but this scarf is a printed version of that hand painted work. It is most certainly NOT a one-off hand painted scarf.
Then there was this ‘Painted Garden’ silk scarf.
I think calling this ‘Painted Garden’ is probably more acceptable especially as it is then described as a print silk square scarf. I guess what is happening is in these days with much textile design work being produced digitally that printing a design from an original hand-drawn or hand-painted artwork is now considered unusual enough to be a selling point.
However, I can’t help but feel that the marketing people are implying unique, one-off and hand painted in an attempt to make mass produced products somehow more wholesome and authentic and therefore deserve their ticket price of £110. You can tell this has annoyed me rather a lot. Genuine hand painted silk scarves take hours of work and every single scarf is unique. Sorry, rant over, but here is a photo of the real thing, an unrepeatable, hand-painted silk scarf. (Most certainly not licensed for digital printing either!)