If we are honest there are signs and hints of the coming of autumn that occur most years during the course of the average British August. So the recent drop in overnight temperatures and the cooler, misty, damp mornings should not really be a surprise. Here, in East Anglia, as normal, plenty of late-summer flowering plants are still going strong.
I thought I’d take this opportunity to cut quite a few blooms, gather them together in different compositions and take photographs as a record for future work. I love the colours, individual forms and the various combinations. In my backyard the sunflowers are just getting into their stride and I have so much ammi visnaga finally blooming (after a late start from seed) that it is beginning to look like a weed infestation.
In the bright light on the kitchen table where I usually have any current ‘jug’ arrangement, my loose sunflower bunch looked okay, but when I came to take more formal photos with a dark background the cream jug dazzled and distorted the composition.
Hunting around for something less white I remembered my mother’s copper kettle and switched the bunch to that instead. Annoyingly, in the process of rearranging the flowers into the new container several of the sunflowers dropped all their petals.
As I mentioned the other week the dahlias have been flowering well and the more you cut the more you get – my kinda plant! And, as you can see, the verbena bonariensis eventually grew to its full height and began to flower despite the less than ideal conditions.
There’s not really enough hours of full sunlight in my backyard to create a flower-filled space bursting with colour. In all honesty I think I have been overly optimistic about what I could grow successfully.
I did plant out the sweet pea seedlings in the best, sunny position available, the prime site. They have flowered reasonably well, but despite doing my usual trench preparation I’ve definitely had less flowers than I did from my old ‘suburban’ garden. I have a feeling I need to make some serious efforts at soil improvement this winter. That will mean adding garden compost to the depleted backyard soil perhaps with the odd handful of chicken manure pellets and finally topping off with a mulch. Additionally, any spare compost mix will be needed to beef up the small area at the front of the house too. No doubt by next spring I will be enthusiastically sowing flower seeds again optimistically hoping for a glorious display all summer.
I use photographs a lot for my work. I am always looking for inspiration from the world around me and use my camera to capture these moments. Recently, when reviewing and rearranging my current online shop collections, I recognised subtle influences from my photography. I had been searching through my various memory sticks of stored images to freshen up my product listings. It was clear from comparing dates on the files that after a few sessions of photographing some summer garden flowers, shades of peach started to appear in the pink scarf I was painting at the time. Although I was not directly using the flowers photos as source material their influence was quite obvious with hindsight – up until then peach was not included in my work.
I also opened my Bury St Edmunds memory stick. There were plenty of photographs of the glorious stained glass in the cathedral, both motifs and colours from the glass I have since featured directly in my silk scarf designs. However, after working in the cooler tones of the glass for a few months I can see I gradually moved to a palette of warm, rich colours. This was not the conscious process as before but I think the beautiful rich red windows had left their mark. Looking at the dates on these files I think the autumn weather was also a factor.
It hasn’t only been colourful images that have unconsciously influenced my work. When you are looking for a good shot you examine your surroundings with more attention and details so often overlooked are literally brought into focus. Shapes I hadn’t thought I had noticed at the time have been added to my stock of motifs such as the details on these sculptures.
In the end though sometimes there is no obvious inspiration for the colours of a scarf. With one of my favourites, this blue and green scarf below (long sold), I worked up the design layer on layer adapting my choice of dyes after each layer was steamed. A less controlled more serendipitous process. . . . . . . but I had been recently photographing seascapes!!!
Accurate colour representation, strictly speaking re-presentation, on screen-based devices is, I have now decided, impossible. But before I get bogged down in the philosophical depths of reality and the perception of reality, let’s just say that we don’t all see the same colour in the same way.
Shades of pale blues and pale greens are well-known for instigating disagreements between two people both looking at the same blue or is that green? I selected Colour One and Colour Two below from the pictured scarf and have placed them on different backgrounds – personally I’d call Colour One duck egg blue! Any takers?
And, as any other folk who regularly take photographs will know, the ambient light certainly makes colours appear different. It is also why there are a selection of lens filters (and photoshop equivalents) to adjust for the ambient light.
But one thing I didn’t particularly notice until I was reading about how we see colour is that (and this is blindingly obviously really) the same coloured object will look different against a different background!
This brings me back to presenting my work online using photographs. Silk has a lustre and this lustre varies with the weave. A crepe de chine has a subtle sheen and a flat crepe de chine almost no sheen. Satins and charmeuse silks are so lustrous that they could be called shiny whereas silk twills and taffetas are somewhere in the middle.
In the blurb accompanying my online shop I try to explain that silk looks different in real life not least as the slightest movement makes a lustrous scarf reflect light in an ever changing subtle way. Add this information to the variety of screens people use to shop online and people’s individual perceptions of colour I conclude that accurate re-presentation of my work is not possible.
Applying these observations to the wider world of online shopping in general (and I am sure most people have already realised this) if you are considering buying anything online and a precise shade or colour match is of paramount importance then either ask for a sample, a swatch or an off-cut, or read the returns policy so if it’s not right for you it can be sent back and you will be refunded. One small point unlike big retail brands, ASOS, Hermès and Liberty and so on, most small businesses, crafters and artisans are unable to offer free returns.
It’s that time of year again when most of the tribe are back from their holidays and it’s the beginning of a new academic year. It was first starting nursery, then school, then university and now for this year’s graduates, hopefully, it’s starting work. September is also the fashion show season. London’s Fashion Week has just finished on Tuesday, New York was the week before and those interested will continue to watch as Milan and then finally Paris present their style innovations.
It is different this year as instead of showing a spring collection for buyers to order now with stock arriving in their stores next March/April, some brands were showing ‘see now, buy now’ or ‘runway to retail’ collections. Either way, in reality this doesn’t directly affect me as I only paint one-offs, but I do keep an eye on the changing trends. Mostly I’m interested in trends for colours and the feel of the overall palette that is on offer. This September I’ve noticed the odd glimpse of orange amongst all the very patterned designs from brands still showing designs for next spring. However, it appears the ‘see now, buy now’ presentations as shown by Burberry have logically chosen colours that feel more seasonally now, more autumnal, with hints of old gold, muted pink and dark plum amongst the black and grey.
As you can see above there’s plenty of black and grey generally popular for northern winters. I’m not holding my breath that there is going to be a sudden shift away to more colourful clothing to brighten our grey winter days. Wearing high fashion can be akin to a high-wire act, and for women over 40 it can be downright treacherous and inevitably blacks and greys remain the tried and tested favourites for mortals. And, you can always add colourful accessories to otherwise understated combinations to refresh and update your look.
Blacks and greys are fine, but, I guess at heart I am traditional as when I think of autumn I think of warm browns, old gold and burnt orange.
Anyway, after all that, here are two little black crows flying off into their futures . . . . .