Revisiting and Intensifying

Some time ago I painted my ‘La Donna’ series of silk scarves. Two of the five colour combinations I created didn’t really chime with the contemporary trends, however they both sold quickly. Then the green version was purchased as a gift and it was duly shipped to Singapore. It had been my favourite of the series. It is one of those oddities, for me anyway, when I take over 300 photos during a shoot how often the single best photograph turns out to be my current favourite piece.

Returning to this series as a whole the lilac and pink versions have not been successful colour combinations. I am surprised as generally any of my scarves with a fair amount of pink have sold well not least as the softer pinks are a complementary colour for wearing near the face. Mind you looking at the photographs of the lilac scarf I can see it looks more dull and dreary than restrained and muted. Although I do have to mention that lilac, in a similar way to red, isn’t accurately captured in a photograph and as with most of my work the scarves do look better in real life. Anyway, it was time to jazz up both the pink and the lilac and I think make the patterning more complex.

Firstly, I tackled the lilac one. I repainted the lilac area adding a deeper mauve that together with the new fuchsia highlights has resulted in an overall brighter, more zingy appearance. Also, I think building more complexity into the black and white areas has balanced the overall feel of the scarf.

As usual with photographing colour the resultant image always varies with the light, but happily this daylight shot (below) is a fair representation.

La Donna lilac

Next I turned to the pink scarf, but felt this one already had enough pinky pinkiness about it and it didn’t need the background changing. It just needed an overall pulling together of the different design components.

This has been achieved by adding more patterning to the black and white areas and at the same time integrating the blue patterned band using a zigzag magenta border.

I had always been pleased with the design of this series and I did like the original pink interpretation, nevertheless I am much happier with this intensified more vibrant version.

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Silk Scarves for Valentine’s Day

This time next week it will be Valentine’s Day. I do have a couple of red scarves on my online shop at the moment, but they don’t feel classically romantic to me. They’re too bright and, too, well, red.

Thinking about it in an old-fashioned way and despite the supermarket aisles of red Valentine’s merchandise, I find I associate the colour pink with romance more than red.

So with romance in mind for this Valentine’s post I have put together a selection of my work that features pink more or less.

The first scarf (at the top) has accents of zingy fuchsia, but the rest of this mini collection are all rather dusky, muted affairs.

In general I think that softer pinks are easier to wear, and, who doesn’t like a touch of pink lippy every now and then.

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.

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.

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

 

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

Layering – Part II

Edna-bannerIn 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.Old-Edo-long

I have used the same approach, drawing on a new set of motifs,

Edna-long-new-motifs

then adding the colour. This time I have used the greens and bronzes,

Adding-greens-and-bronze

but have changed the whole feel by adding a rich rose pink and a pale powder pink instead of the lemon yellow.

Adding-pinks.jpg

I think the finished scarf is now a more dynamic, flowing piece.

Edna-Long-finished

It is available from my online shop. 2019 update now sold.

Edna-long-boxed copy

Layering – Part I

Header-picIt 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.

Edo-square-clup3-blue copy

Firstly with a new set of motifs applied.

Drawing-new-over-design

Then painting in with another range of colours, this time greens and bronze.

Filling-over-dark

Gradually the whole square is transformed. It is a creative process that generates some intriguing overlapping combinations of colours.

On-frame-dyes

It was this . . . . .

edo-sq-full

and then this (ready for steaming)  .  .  .   .

Edo-sq-II

and now it’s finished.

Edna-square-composite

For sale here – Update 2019 now sold.