Just recently I have been reviewing all my stock and looking to see what ‘colour’ gaps I should fill. As I have posted previously I have been very taken with the Iceni horse motif found on the coins of the Wickham Market Hoard and, as yet, don’t feel I have exhausted working with such a beautiful subject.
So, after working with this horse motif to paint five neckerchiefs and three smaller square scarves, I decided that it was time to work it up for a standard, full 90 x 90 cm crepe de chine scarf.
As you can see I have created quite a measured and calculated design.
There are a few small areas of flowing and blended colour such as the dusky turquoise roundels, but this design consists mostly of outlined shapes of unshaded, flat colour.
The overall look when viewing the whole scarf laid out is quite a busy piece, but when scrunched up and tied around your neck, or draped across your shoulders, the effect is simply rich and ornate.
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.
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.
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.
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.
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!
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.
Last week I posted about my discovery of a beautiful example of Tudor woodwork, the Parham fire surround. I found the detailed carving inspirational and have developed a motif from one of the pheasants lurking in the carved vegetation.
Here is more of the process shown in a few photos as the design is first outlined and then painted with dye, pink, old gold and moss green, on a handkerchief-sized piece of silk.
I was not convinced about the old gold so it was dropped when I expanded and transferred the design to a larger, 90 x 90 cm square silk twill scarf.
As I recently mentioned June is the month of roses and I do love a classic pink rose – I think that’s why I have been working with pink all this month.
And, the pieces are now ready to be rolled in paper and steamed for a couple of hours to fix the dyes.
I have been having a serious clear out of cloth. I am trying to be disciplined about this. I am attempting to organise all my work materials so there is studio space that is conducive to work and not one that is so chaotic it drains me of all my creativity.
During this protracted endeavour I came across some of my old silk work. In the photo above there is a bird hidden within all the colours. The original idea came from a medieval bas-relief bird I photographed on a visit to a cathedral (possibly in Germany, but it could’ve been in France) a couple of decades ago. In my memory it was always Speyer Cathedral on the Rhine. However, I have just Googled Speyer and though the magnificent 11th century Romanesque church is the building I have in mind’s eye, I can’t imagine where I thought this bird was ‘perched’. Strange how our memory plays tricks with us, isn’t it?
Anyway, I can now see that my ‘stork’ and ‘heron’ phases had a long forgotten forerunner lurking somewhere in Europe.
Of course, a freehand one-off motif once designed doesn’t remain fixed for very long.
Over time my bird motifs have lost most of their definition and morphed into little more than blobs with spikes!
Might be time to track down my old photos and revisit the original ideas and try working up a new motif or two from the primary source material. I haven’t unpacked either box marked ‘photos’ yet, but I am hoping that I didn’t bin them all the last time I had one of my ‘once every 10 years’ clear outs.
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!!!
Living in East Anglia there are many parish churches that still retain both medieval and Victorian church art. Painted rood screens and colourful stained glass provide a wealth of inspiration for my silk scarf designs.
Detail from St Lawrence, part of rood screen paintings. St Helen’s, Ranworth, Norfolk.
Decorative detail from a Victorian stained glass window. St Edmundsbury Cathedral, Bury St Edmunds, Suffolk.
I like to steal ideas for motifs and also re-work various colour combinations. Often I will just use a tiny part of a much larger stained glass window whether its from a Tudor pane or details ornamenting a Victorian light.
Detail from the Susannah Window at St Edmundsbury Cathedral, Bury St Edmunds, Suffolk.
Design drawn out on silk using coloured gutta and resist paint brush daubs.
And, once I have created the whole design and transferred it to the silk I then steal colour combinations from a completely different medium such as the oil on board paintings of local medieval rood screens.
The finished work may not obviously look either Victorian or medieval in style, but if you look closely you may be able to spot a motif or two and recognise the ‘dirty pinks’ from the painting of St Lawrence’s robe.
For anyone seriously interested in exquisite fifteenth-century stained glass then Long Melford in Suffolk is well worth a visit.
Finished in 1484 the Great Church of the Holy Trinity contains a collection of some of the finest medieval glass in the country including a Lily Crucifix image and a rare roundel featuring a three hares motif.
Holy Trinity is one of Suffolk’s so-called ‘Wool churches’ as the erection of these buildings was funded from the profits of the medieval wool-trade. Advantaged Suffolk landowners prospered from the successful export of high quality wool and wool cloth to continental Europe and invested their profits building fine churches in the hope of facilitating a speedy journey for their soul through purgatory to heaven.
The medieval glass we see today filling the large ground floor windows features portraits of donors. These portraits would originally have glazed the upper, smaller, clerestory windows. For about 100 years during the 19th century some of this glass was used to reglaze the east window (1828) with more being installed in the west windows during 1862/3, however today these windows are clear. The present arrangement of the medieval glass, all along the north aisle, was carried out during the late 1940s.
The height of these lofty clerestory windows helped protect the glass from the various destructive onslaughts that occurred during the 16th and 17th centuries. The lost/destroyed stained glass would have consisted of biblical images and religious themes popular in the medieval period and similar to those of the Victorian glass found in the south aisle windows today.
In the medieval period clerestory windows were filled with a variety of images from Old Testament prophets and local church dignitaries to ethereal representations of angels and archangels. Amongst the many surviving medieval donor portraits (to be explored in a separate post) there are two archangels.
Here, at Holy Trinity it is the archangels St Gabriel and St Raphael that have survived. They are both exquisitely painted displaying subtle and detailed work using silver nitrate stain. They have been painted by a craftsman that understood how to use the translucent quality of his materials to achieve an unearthly quality, literally letting the spirit/light shine through.
There is another little gem hidden away in the Clopton Chantry Chapel. One of only five examples in England, the east window of the chapel bears a ‘Lily Crucifix’ dated from 1350. Christ is not on the Cross, but is instead crucified on white lilies. The blue background and the white lily represent the Virgin Mary and the motif symbolises the joint suffering of Mary and Jesus.
Finally, an unusual and rare three hares roundel has been placed above the north door. This motif is believed to have come to Europe from perhaps as far away as China via the Silk Road. If you look carefully you can see that although there are only three ears each of the three hares has two ears!
Window above north aisle door with small ‘Three Hares’ roundel centred beneath the Pietà
The ‘Three Hares’ roundel. Three ears are visible yet each hare has two ears! Painted glass, Holy Trinity, Long Melford.
Just thought I’d share my recent re-working of a design littered with medieval rood screen motifs. This time the new colour combination is – pink!
I had originally painted a pale turquoise, mushroom and sage version (below left) and after a few sketches decided that a mostly pink with a few old gold highlights would make an attractive combination.
This scarf has now been steamed and is listed in my shop – Mildred Pink.