Last month was a busy time preparing and attending the Christmas Craft Fair at Blackthorpe Barn. I always do a run through setting up my display at home, and, as you would expect when getting ready for the show, I prepare my stock. This is a task I have hopefully started by mid-October. During the process I am able to appraise each piece and, as is always the way when I haven’t seen my scarves for a while, I decide one or two could be improved. The first one up for the layering treatment last month was Agatha Cherry.
Apart from the fact that this scarf, with all the red, has been difficult to photograph accurately, I didn’t think there was enough contrast and depth within the design.
Adding another layer allowed me to introduce some of the darker colours I like. I took inspiration from this photograph showing the muted tones of my dried dahlias.
As soon as the resist lines had dried I began to paint with a mid-tone old gold and then to darken other areas I added a deep, rich purple.
With the second layer completed and the scarf steamed the final result definitely has more depth and interest and it has made the rich lustrous quality of the twill weave more obvious. A definite improvement I think.
Now I am a fan of the colour green. In one way or another it has been a colour I have used in painting different rooms since my first house back in 1996. Of course, there are greens and greens. I remember the first time I used green it was a bright apple green and in a south-facing room it definitely had a hint of lime about it. At the same time I was painting the walls the plumber was installing the central heating and he could barely conceal his revulsion!
It appears that lime green is not a popular colour in our northern light and as we have so few days of summer sun when it looks really good, I reappraised the one lime green scarf on my shop and decided to give it the layer treatment.
Now, regular perusers of my blog will know that amongst the tools in my ‘creative process’ box layering is a technique I use to change my work and give it more depth.
I did like the flat pattern of the original, but I can see that the very nature of the flatness made the lime green less appealing especially in the photographs.
Over-painted, steamed again to fix the work and newly photographed and now uploaded to my online shop. I think it is definitely a more interesting piece.
Every now and then I find an idea I have been keen to develop for a scarf goes awry in the painting. This was the case when four years ago I attempted a ‘bluebells’ scarf.
The finished scarf was a delicate pale pink dotted with stems of bluebells. The pink was subtle in real life. It was a soft, easy colour to wear close to your face especially for those of us over fifty. However, this scarf when photographed, well, it looked totally washed out and almost dreary. And, now when reviewing the design, I see the overall appearance was too messy and busy, and failed to be dynamic. Time for change.
Initially I adjusted my creative process making some large and bold additions to the scarf. I overpainted with broad flowing brush marks of coloured resist in order to balance the small bluebell motifs.
I then added some mid-sized periwinkle like flowers in a bluey green and created depth to the whole piece by painting small areas of the background in black.
The scarf has been steamed again to fix the dyes and the finished, more interesting piece has now been added to my shop – click pic to see.
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.
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.
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.
The finished neckerchief is photographed and added to my shop.
My painted scarf, Venus Falls Blue, has undergone the layering treatment. And, again the finished scarf is most definitely an improvement in my opinion.
I have kept and uploaded before and after pictures. These show how adding even pale dyes in large overlapping sections across the whole work can significantly change the look. In this case I used pale pink and pale blue.
Obviously, the second layer has knocked the original yellows back considerably.
Even though it is spring at the moment and there are yellow daffodils, yellow tulips, yellow forsythia, yellow mahonia, yellow primroses and even some yellow dandelions already out, I am not actually feeling it for ‘yellow’.
As you can see below, the yellow is slowly disappearing.
And, finally after steaming again, it’s finished and in the shop.
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.
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.
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.
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.
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.
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.