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?
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.
The first in my Freckenham series, the neckerchief ‘Freckenham Carmine’ is now finished and displayed on my shop.
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.
Recently, I have been reading about the traditional Japanese skill of Shibori. You’ve probably seen examples around as it has become very popular.
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.
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.
Above 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.
I 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.
After the usual washing and pressing here is the finished result.
General question – ‘What happened to the January Sales?’
Answer ‘They’ve become the Boxing Day Sales’
I suppose I am old fashioned and I simply can’t get my head round going to the Sales the day after Christmas. When I was a student I worked the Christmas period in Selfridges in London. We definitely did not work on 26th December. According to ‘Visit London’ most famous department stores and major shopping malls will start their sales either on the 26th or 27th December.
Of course, many shops with an online presence will go live with their sales offering at one minute past midnight on Christmas Day. This year I’ve decided to have a New Year Sale. That is I’m going to reduce many of my scarves by 20% and the odd one or two by 50%. These price reductions will be effective for five days from next Thursday, 29th December until midnight Monday 2nd January 2017.
Here’s a preview of some of the scarves and textile art that will be in my sale around the New Year. Oh and yes, as this is my last post before Christmas . . . . . .
S E A S O N’ S G R E E T I N G S T O E V E R Y O N E.