Another flower-inspired bandana

Well, it’s the 25th November and it’s four weeks to Christmas and that’s it for my backyard for this year. There are a few pink cosmos plants limping on and the hydrangea blooms will be slowly fading, or rotting away for the rest of the winter, but until next spring they’ll be no flowers from my yard to cut and bring into the house.

Drawing out and painting the first corner design.

Just as well I took the time to photograph some of my favourite combinations from the summer and early autumn flower arrangements.

Finding another colour combination for opposing corner.

I keep a selection on my iPad which I use when looking for colour inspiration.

Beginning painting the centre panel featuring the full large vase arrangement.

And, every now and then I do sort of copy an arrangement and include the vase as well. You may even recall that I painted a picture of the tall vase arrangement before the design ended up on scarves.

The example below will probably be the last one of this series as the season and the light have moved on and I am feeling the arrival of winter and with that a change of palette.

An On/Off Project

As many of you know I have been painting silk for years and mostly selling painted silk scarves, but that was until Covid.

First the lengthy job of painting the long, long piece of silk.

When the pandemic arrived and with it, eventually, the wearing of masks in crowded spaces and on public transport and during a lockdown or not, there was an explosion of homemade masks of every shape and colour. And, as some of you know, I started painting and making silk versions. All that was until the arrival of working vaccines and the gradual reduction of mask wearing.

After painting and steaming the silk a backing was add with a layer of wadding between the silk and the backing to give a richer, thicker slightly quilted appearance.

Now, anybody who knows me in real life knows that I view sewing, by hand or machine, as a means to an end. Getting my old sewing machine out to make masks was an interesting experience for me. In the end sewing and making joined painting as part of my everyday work.

Random flowing machine embroidery make swirling shapes and loose gold stars.

All this prattle brings me to the point that for some bizarre reason at the beginning of this year I decided to embark on a large painting and machine embroidered piece of work. Yes, I did just write ‘at the beginning of this year’, because this has turned out to be a very long drawn out endeavour. And, I am now at the stage where I have picked it up and started and stopped so many times I am wondering whether it will ever get finished. The working day routine of sewing masks pretty much ceased back around last Easter and in between periods of scarf painting, this long, involved project began to take more and more time. Now, as we move into autumn my patience for machine embroidery on this scale is seriously running out of steam.

It is easier to see the freehand machine embroidery on the reverse.

Anyway I thought I’d share my progress so far and I will blog about it again if it ever gets finished.

One for me and one for the shop

About once a year I paint an experimental, trial scarf for myself, then tweak the design and when I’m satisfied paint a very similar more refined version for the shop.

The prototype for my new small scarf series.

Not long ago I reviewed my stock and assessed the different colours available. I realised recently I have been mostly working with blues, turquoise and pinks. On my shop there’s also scarves in pink and green, soft green and gold, but no strong green.

Last time I did this ‘one for me (prototype) and one for the shop’ I was working with strong, vivid reds. This time I thought I would use the same approach to work with some zestful, bright greens.

My prototype left and ‘Evy Apple’ now on my shop. I think the shop version works better with the darker areas of Prussian blue adding contrast and depth.

Of course, sometimes there’s a fashion for a certain colour and I notice green has become popular of late. Now, this bright green is quite a change for me and for a first experiment it was always going to be working with my smallest scarf size.

Painting the first bright green ‘prototype’ scarf.

Also this small ‘neckerchief’ size is a personal favourite as it can be worn to add a small accent splash of colour, especially when it is such a zingy colour.

And one for the shop – painting the second bright green small silk scarf.
Two bright green scarves.

Finally, both green scarves were finished and steamed and now one is on the shop and I am wearing the ‘trial’ one as I type this post!

Share the Love

As artists, artisans, creatives and makers we all form part of the visual culture community and as such it is always a joy to see and be inspired by the work of others past and present.

One commendable opportunity offered by the Internet is the ability to share our finds and photos of inspirational art particularly the unnamed work of past artisans. Sharing our appreciation gently reverberates across the net as pleasantly, every now and then somebody pops up and leaves some much appreciated positive feedback for my own work.

Just recently I have received a couple of delightful mentions one by Sheri 42 from the blogging world

and one by ‘Suffolk Artists’ on Instagram. And, so I thought I would blog a ‘thank you’ post for both mentions and share the love as they say.

Warmer Colours

It might be a cool and wet start to July, but recently I have turned to painting with a warmer range of colours.

It is another layered mid-sized scarf which has ended up more patterned with the second layer than I had originally intended.

And, after steaming the colours have turned out to be stronger and hotter than expected as well. Perhaps this weather is going to get the idea and also turn hotter too and then we’ll have a summer after all.

As inspired by aquilegias and alliums

Last month I took a few photographs of the flowers that had managed to do their thing despite a very wet May.

Aquilegias and alliums inspirational flowers

As it happens it was the photo of the deep purple and pale lilac aquilegias that consciously caught my attention and became the inspiration for a silk scarf.

And, in that strange way that colours and shapes so often infiltrate the sub-conscious, the alliums found their way into my design too.

The second layer of shapes and colours added over the first fully dyed silk made for a messy looking composition, but after steaming the completed scarf, Eladora Sea, has turned out to be one of my favourites.

After steaming the silk scarf is washed, photographed and then added to my shop.

Adding a dark background

Along time ago when I was a student my textiles tutor once commented to me that she could always recognise my work by my use of black. At the time she had been looking at drawings for a floral fabric where I had used only the tiniest hint of black behind lime green stems.

Adding a dark mottled red to a red and pink neckerchief.

I also remember my mother (an amateur oil painter) making a comment that she never used black, but only ever Payne’s grey.

Adding purple to a square flat crepe scarf.

Over the years I have begun to include more and more colours in their darker shades instead of the black to add depth to my designs. Every now and then I think I am going to stick with a pastel background, but somehow I find I want the design to be a little more punchy . . .

Adding Prussian blue as the final layer.

And then a pot of a dark Prussian blue or an imperial purple or even a rich brown is unscrewed and the dark dye banishes the pastel.

Adding dark brown and dark grey to a large crepe de chine scarf.

However, as I write this there’s work on the frame where I have designed from the outset to use pure black. I know it might seem strange, but to get the best black it has to be painted onto the natural silk before any other dye has been added. You’d think that black would just cover any previously painted area, but some of the initial coloured dye binds to the silk and even though the black is strong, it never quite looks as sharp.

Currently using black again.

Finding myself working again with black it seems, as with so much in life, even one’s creativity can turn full circle as part of a cycle. Apparently for me it turns out I am on a roughly seven year circuit! Of course, it’s never a true repeat, but a revisiting with the benefit of experience.

An example of a black background from the outset. One of the first five scarves I created when I launched my online shop back in 2013.

Blue – Bright and Cheery

Perhaps because it’s been an unusually cool spring I have found myself painting brightly coloured highlights against very, very blue backgrounds.

Fuchsia pink and burnt orange were the starting combination.
I nearly always sign my work early on as it is awkward to almost impossible to add at the end.
And this is the first of the strong, bright blue being added.

I am not sure whether you would call this blue, cobalt blue, royal blue or ultramarine, but it’s certainly a bright and uplifting colour.

Nearly finished, adding a circle of a dark navy with corners of black.
The painting is finished and this 90 x 90 cm scarf is now ready for two hours in the steamer.
Finished and uploaded to Agnes Ashe online.

Well, whether the blue is royal blue or cobalt blue or even ultramarine, I still think, as usual, Mother Nature does it best.

Brunnera macrophylla aka Siberian Bugloss part of a partial shade, roadside planting in Ipswich’s town centre.

Painting Mask Silk Again

Slowly, but surely we are heading out of the third lockdown. Easter may have come and gone and it may still be chilly, but at least we have spring sunshine to accompany the odd foray into the wider world. And, if you’ve already been out and about and visiting the shops or enjoying a little outdoor hospitality, physical distancing, wearing a mask and gelling those hands still applies.

With this in mind and following a comment from a repeat customer, I’ve painted and made some more masks.

And, unsurprisingly, I have felt like using some bright colours to go with these more optimistic times.

As I think I have mentioned before, I don’t always start with a plan when painting and this selection has most certainly arrived courtesy of the springtime, colour muse.

Painted mask silk: One mostly orange and one mostly green.

Having painted all ten blanks and steamed the lot, it was then time to switch from the frame to the sewing machine, make the masks and then pop them on the shop.

A tricky colour to photograph

Sometimes for some strange reason, and unwittingly, I just make my life that little bit more awkward and this is one such occasion. I absolutely know that the one colour I find virtually impossible to accurately photograph is pale turquoise. Naturally, therefore that is the very shade that has ended up being THE conspicuous colour for my latest 90 x 90 cm silk scarf.

I simply cannot explain how this happened, as you can see below it all began innocently enough with simple, primary highlights of red, green, yellow and blue and then a few dark smudges of deep purple.

However, after painting in the black and grey border I pondered, considered and then decided the small corner details could be in a turquoise/sea green colour and then suddenly I find I am industriously splashing it all over the centre panel.

I expect you have heard authors say that often their characters take on their own life and lead a story off in a completely new and unexpected direction, and I, behind my hand, have thought right, okay, sure. But, after my experience with this scarf, I believe them. I am totally converted to the idea that a creative process can somehow evolve pretty much under its own steam.

So, there you have it a pale turquoise (or is that sea green?) silk scarf with a few highlights of other colours!

Returning to Scarf Painting

After several months of working at a smaller scale painting patterns for silk masks, I have recently returned to painting scarves.

This change in scale is more tricky than it appears. I experienced and learnt that when I first started painting the smaller pieces for masks. With a move back to larger work I didn’t want to misjudge the gear shift whilst painting a full 90 x 90 cm square, so I have returned by first painting neckerchiefs.

Pinning out the 55 x 55 cm squares and loosely laying down the first outlines became a poignant experience as I reflected on the intervening seven months since I last worked on any scarves. I then reached for the darkest, dark blue I have and painted in the background.

2020 really has turned out to be a ghastly, ghastly year.

And, finally now, the 31st December, we can say goodbye and good riddance to it.