Winter Blues for January 2020

It is not always the case for me, but with seasonal changes I often find that I am choosing a different palette for my work.

Adding the fourth layer of blue to the background.

Back in November we had a brief, cold snap. The frost was enough to blacken the dahlias in the backyard and I noticed that I was already painting with cool blues again.

Green, coral and gold and a few daubs of fuchsia are used as the accent colours.

Since my summer visit to the Ipswich Museum I have been working and re-working the delightful ‘Iceni’ horse motif found on the Freckenham staters. By November it was time for me to move on from painting versions on silk neckerchiefs and to develop the motif into a full design for one of the bigger squares of silk I paint.

Flat crepe silk square ready for steaming.

With all the dyed and resist areas dried the silk square was steamed and photographed. It is now January, and winter proper, and this scarf of winter blues has been added to my online shop.

Wilda Ink Blue is a 69 x 64 cm flat crepe (10 mm) silk scarf. 

Painting a Neckerchief: Freckeda Opal

It was another week and another neckerchief inspired by the Iceni horse. I have really fallen for this charming motif found struck into the Freckenham staters that make up part of the Wickham Market Hoard.

After first drawing out the basic design I had painted in the Iceni horses, but hadn’t decided on the colour combination for the overall interpretation. It was the middle of August and I had a mini glut of sweet peas some of which had been stuffed into a vase. The morning sunlight was catching the petals beautifully and I thought, yes, possibly these colours will do arranged in front of the stained glass panel. With some slight adjustments to the vase position I had a palette with which to paint the scarf.

However, when most of the colours were added I felt the overall effect was too pale and the piece had more than a hint of a gelato selection about it or even a bag of liquorice allsorts. My first thought was to fill in the background with black, but perhaps that would be too harsh. In the end I chose a darkish grey to add a more subtle contrast.

All finished, steamed and then photographed. That sounds so straightforward and simple, but I have to say that this is one of the those scarves that has been really difficult to photograph. How we see colour is a complex process, but it is most definitely affected by the quality of the ambient light, whether that’s light at dawn or dusk, or full summer sunlight, or electric light, or even candlelight! You can tell that despite sitting at my computer adjusting these photos, as I held the actual scarf in front of me, the colours in each photo look slightly different. I suppose any image is an approximation of a reality. We easily accept a painting as a visual interpretation, but often forget that a photograph is a visual rendering too, added to which the camera always lies to a greater or lesser extent!

PS – If you are in Suffolk . . . . .

Inspiration from the Wickham Market Hoard: The Freckenham ‘Horse’ Motif

Last week, I finished my post with a photograph of the beginnings of my new collection based on the Wickham Market Hoard. Strictly speaking it is the designs struck on the Freckenham and Snettisham staters that have caught my attention and specifically the charming horse symbol.

Once I had my version of the horse motif worked out and drawn up I could plan out the whole scarf design. I began this series using the smallest size scarf I paint, that’s the neckerchief square, but what colours for the initial interpretation?

Photomontage of flowers for colour combinations.

Well, it wasn’t difficult to decide as I had plenty of flower photographs capturing all the bright zing of summer blooms. When I pasted some of these together into various photomontages they offered a number of irresistible colour combinations. I chose the pink and red grouping. Below is a sequence of photos from start to finish recording painting the neckerchief where I incorporate my version of the glorious 2000 year old horse motif.

Mmm, the ‘blank canvas’ moment.
Outlines of resist all done and left to dry.
Painting in the colour.
Halfway done with only the horses to complete.
Finished and ready for steaming.

The first in my Freckenham series, the neckerchief ‘Freckenham Carmine’ is now finished and displayed on my shop.

Another colourway

I never paint the same scarf twice. The combination of my loose, freehand gutta work and then the random way the dyes flow into each other make it an impossibility. However, I do roughly repeat a design in different colours. I usually paint four or five different colourways of the same design to produce a mini collection.

My recent visit to see the Hawstead Panels at Christchurch Mansion, Ipswich, inspired me to create a design for a neckerchief. The first one in this series based on the pines and wildflowers painted by Lady Hawstead, was a combination of blues and mouse brown.

Having established this basic design and feeling comfortable with the patterned components, I then moved on to a new colour combination.

Sequence of photos showing the process of adding more colour.

This neckerchief design is a mixture of techniques with thick, coloured gutta for the pine tree tops, single colours painted into delineated spaces and some resist layering.

Small area of simple layering.

I like resist layering, but you have to wait for the gutta to dry. This can be speeded up by using a hairdryer. Resist layering is where you add the clear gutta resist to a pale area in a pattern let it dry, then added a slightly darker dye, then add more clear gutta patterning let it dry and finally another layer of even darker dye. You are left with a more painterly effect and even a hint of brush marks or should I say daubs.

When all the dyes have been added and all the gutta has dried, the neckerchief is rolled in protective paper and steamed for two hours.

One neckerchief three different outfits

The finished neckerchief is photographed and added to my shop.

Extremely irritating

It’s not really surprising, but it is very annoying and it most certainly isn’t flattering. One of my photographs of my original work has been used by a website promoting mass produced scarves.

Last week I was doing my monthly online research and tidy up, and checking my Google Analytics, when I saw this search results page and noticed one of my scarves. Naturally, I had been expecting to see my work on an image search for ‘hand painted silk scarf’, but not my photograph associated with another website, and, to add insult to injury, wrongly describing the scarf as hand dyed and not hand painted.

My photo of my work promoting another site.

Over the years I have been contacted by various people and asked if they could use a photo. I’ve always said that’s fine and mentioned in passing it would be nice if they included a credit for me. However, these people have not only purloined my photo, they are also using my painted scarf to advertise their website, all entirely without my permission and with no acknowledgement or link to my online shop. I did a quick recce of their site and it is a puzzle, oddly changing and without any details of who or where in the world it is based. Something doesn’t feel quite right about it and I won’t be clicking on any of their links again even if they do pinch another photo.

And this is my scarf as it appears on my online shop.

I have worked hard to promote my business. During the past five years, as well as designing and painting the silk, I have spent hours photographing, photoshopping and managing the presentation of my online shop. I have paid for and attended a photography course to improve my product photography and photoshoot skills. I am both angry and disappointed that my work (the silk painting and the photography) has been used in this way and my luxury scarves have been linked to a dubious, mystery website. I suppose this kind of episode is to be expected in the ‘Wild West’ world of the Internet even for a minnow venture like mine and it’s simply a case of shrugging your shoulders, forgetting about it and getting on with business as usual.

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.

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.

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

 

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

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