I have been layering again

You may or may not recall that last year I was inspired to work with some Tudor motifs following my visit to the splendid exhibition ‘Wolsey’s Angels‘ held at Christchurch Mansion in Ipswich. I was particularly taken with an oak fire surround with beautifully carved details that included a repeating pheasant motif which I stole and reworked for a scarf design.

Initial drawing and painting of Thomasina

Sometimes when I finish a scarf and steam it I am very pleased with the result, but this is not always so. As I’ve mentioned in the past the steaming process intensifies the colour, but it is not entirely predictable. When the scarf is finally washed and pressed I can properly appraise the results. And, I have to say I was very disappointed with this pink one.

Thomasina after initial steaming

The pale background did not deepen as much I thought it was going to during the steaming and consequently the balance between the heavy lines of the motif and the pale background was way off. Fortunately, having a very pale background has allowed plenty of scope to successfully develop a second, richer layer.

I added more darker lines to the central area and generally softened the whole design by adding pale greys and a mouse brown over the pale pink.

After steaming, washing and pressing the scarf was ready for another assessment. A little surprisingly it as turned out much better than I thought, but, rather annoyingly the tonal range has also turned out to be awkward to photograph satisfactorily. You can’t win them all.

And, finally some words about blogging in general.

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Another in the Edlyn series

I can’t always put my finger on why I choose certain colours for a scarf, but after painting three muted scarves in the Edlyn series, I felt the need for something a touch more brash.

After drawing out the basic Edlyn design it was time to start selecting the colours.

The colours were definitely not from a medieval palette, but they were still too pale and pastel and needed a bit more zing somewhere.

Yes, I liked the fuchsia pink and the chartreuse green and the whole design was better pulled together by adding plenty of the chartreuse to the diagonal swag.

And, mmm, yes, adding more of the chartreuse worked, but to finish off the scarf unquestionably required just a little more fuchsia.

On the frame and finished, next step will be to steam it.

‘A Nation of Shopkeepers’ for the 21st Century

How time flies – I have had an online boutique for over five years and this 21st-century way of shopping has become routine.

And, in the last decade everybody, but everybody I know uses online shopping for some aspects of their lives, but sometimes for me it is pleasant and beneficial to meet my customers in real life. This was the case the other weekend at Blackthorpe Barn. I set up my display, took a quick tour round to meet fellow artists and stood by my stall ready for the first customers at 10.00 am.

By 11.00 am the featured scarf displayed was sold to an enthusiastic customer who used to be a silk painter. Obviously, the large poster-style photograph caught people’s attention, but there is nothing like seeing and feeling silk in real life and I hope she enjoys wearing it. 

British Crafts at Blackthorpe Barn is a good venue to attend, but there is a newer, 21st-century form of selling. Since the first experiments in Los Angeles, the ‘Pop-Up Shop’ phenomenon has spread across the globe. Pop-ups in all sizes, selling all types of products, from all types of venues temporarily open their doors to the public. And, in my little corner of East Anglia a local artist transforms her charming house into a Christmas Pop-Up Shop for three days selling work by fellow artists from the surrounding creative community. 

The Pop-Up Shop at East Cliff House, 24, Harwich Road, Mistley, CO11 1LQ, will be open Friday 7th from 3 pm to 9 pm, Saturday 8th and Sunday 9th December from 11 am to 5 pm.

St Edmund’s, Southwold. Revisiting Rood Screens, Suffolk VI – An unexpected offshoot!

Ettaline-mouse-PeterSometimes 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.

Et1But 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.

Ettaline-mouse-finishedAnd, finally after steaming, Ettaline Mouse.

Ettaline-mouse-close-up

ettaline-mouse-composite

 

 

This weekend at Blackthorpe Barn

Angels-for-bannerI 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!

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St Edmund’s, Southwold. Revisiting Rood Screens Suffolk V – Working from ‘David with harp’

Edlyn-slate-screenHere is another of my Edlyn series. Working with the same design, but this time choosing colours from another panel.

David with harp
Rood screen detail showing part of the panel ‘David with harp’ in front of the Lady Chapel of the south aisle. St Edmund’s Church, Southwold. Oil on panel with gesso and gilt original circa 1480, but heavily restored during the 19th century.

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.

Edlyn-slate4jpg

Adding more colour to imitate the golden feel of the original David panel.

Ed567

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.

Adding-black1

And, finally I added black dye to the background to give the overall design some depth.

Adding-black2

The piece was finished and ready for steaming.

Finished-ready-steaming

And here’s the scarf after a couple of hours in the steamer.

Edlyn-slate-composite

 

St Edmund’s, Southwold. Revisiting Rood Screens Suffolk IV – finishing the first Edlyn

Painting-Edlyn1When I last posted about my Edlyn series I had just begun painting the first Edlyn scarf.

Edlyn2With 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.

Edlyn3

As the colour was added the whole piece began to take shape.

Edlyn4

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.

E-text

Edlyn-gold

One month to go – Blackthorpe Barn

BB-dates-2018

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.

Economy-International

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.

BB-who-exhibiting

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.

cora-for-BB

St Edmund’s, Southwold. Revisiting Rood Screens Suffolk III

Screen-detail

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 their fallen fruit silks of mulberry, gold and plum” when describing the gentlemen’s clothing at the Tudor court.

David, Isaiah and Jonah St Edmund's Southwold
Part of the rood screen of St Edmund’s Southwold showing David, with harp; Isaiah, with book and Jonah.

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.

An Experiment with the Microwave

Beautiful-indigo-shibori-kimonosRecently, I have been reading about the traditional Japanese skill of Shibori. You’ve probably seen examples around as it has become very popular.

Shibori-text-Yoshiko-Iwamoto-Wada
‘Shibori’ by Yoshiko Iwamoto Wade, 1993. A useful book about Japanese resist dyeing. And, next to it, a double page from my 1982 book about tie dyeing showing basic pleating and knotting techniques.

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.

Classic-examples
Double page spread of kimonos made from textiles dyed with indigo using various shibori folds and knotting techniques. From ‘Shibori’ by Yoshiko Iwamoto Wade, 1993.

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.

Microwave-shibori-silkAbove 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.

Ready-for-last-microwaveI 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.

Last-rinse

After the usual washing and pressing here is the finished result.

Autumn-banner-2-2018 copy

Layering – Part III – Darker Backgrounds

Header-linesIn 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.Silvia-green-original

So adding a little black to some of the royal blue.Adding-blackThen overpainting the greens with a soft, pale brown to give some depth to the leaf design and knock back the green a bit.Adding-depth-to-leavesAnd, here below shows the contrast between before and after halfway through the second layer.Halfway-throughFinally it’s all done and ready for steaming.Ready-for-steamingIt 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.Silvia-green-black-finishedMore photos of the finished scarf can be seen on my shop. January 2019 update now sold.

Agnes-Ashe-Silvia-daylight