It’s one of those elements to be taken into consideration when shopping on the Internet – size. It is so easy to simply assume you have a rough idea of the size of anything you are looking at, but checking the measurements is essential.
I recently painted a set of neckerchiefs, my Hudeca series, inspired by Lady Drury’s Hawstead Panels. The design worked for the neckerchief sized squares (50 x 50 cm) and so I thought I’d paint a larger, 90 x 90 cm crepe de chine scarf. You might guess from the above picture that they were the same size. It’s only in a photograph containing other points of reference that you see one scarf is almost double the size of the other.
Even in this video it is difficult to judge the overall size of the scarf with just my hand and a couple of paintbrushes flitting about.
Usually at some point during the designing and painting of my work, a scarf acquires a name. This is important as it helps me keep my work in some kind of order especially if I paint roughly the same design in several different colour combinations and use different silk of different sizes.
At first glance my naming process may seem random, but it is usually linked in some way or other to the original source of inspiration. This time I wanted an Anglo-Saxon girl’s name beginning with ‘H’ for Hawstead and chose Hudeca. The 90 x 90 cm crepe de chine (a really gorgeous, 14mm weight piece of silk by the way) painted with my ‘Hawstead’ design became Lisette and not a Hudeca. I arrived at ‘Lisette’ from Elizabeth for the bigger scarf as Lady Drury was the mother to two daughters, neither of whom reached adulthood, and one was called Elizabeth.
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.
And, finally some words about blogging in general.
Sometimes I stick quite closely to my source inspiration as with the first two of my recent Edlyn series of silk scarves. Picking a panel and details from one of the panels of the St Edmund’s rood screen and working up a design.
But sometimes I get diverted.
After I have drawn out some patterns and motifs a few times I start to wander off down my own road. I think it is a similar to when authors say that their characters somehow take on their own lives beyond the control of the writer. I feel this scarf is my version of my ‘visual’ characters marching off in their own direction especially regarding the colours.
This affair is probably better shown than described. As you can see from the photographs, the outline drawing still has a feel of the medieval panels about it, but it is loosening and the choice of colours has clearly moved away from the rood screen originals.
The creative process is not entirely describable, but here is the finished silk on the frame.
I shall be joining a host of other crafters selling their work at Blackthorpe Barn on the weekend of the 24th & 25th November 2018. My most recent pieces inspired by the medieval art adorning St Edmund’s Parish Church, Southwold will be available.
If you are within striking distance of Bury St Edmunds turn off the A14 and come and see all the great work on display . . . . And, say hello!
Here is another of my Edlyn series. Working with the same design, but this time choosing colours from another panel.
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.
Adding more colour to imitate the golden feel of the original David panel.
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.
And, finally I added black dye to the background to give the overall design some depth.
The piece was finished and ready for steaming.
And here’s the scarf after a couple of hours in the steamer.
When I last posted about my Edlyn series I had just begun painting the first Edlyn scarf.
With continual reference to my photograph of the Isaiah panel of the rood screen, I began selecting my colour combinations and mixing up the dyes. Then I started painting.
As the colour was added the whole piece began to take shape.
At this stage I felt the painting looked too flat and clean, so with a wide stiff brush I added sweeps of thick, brown resist to give a hint of ageing. Edlyn gold is now finished and awaiting steaming.
Four years ago during the autumn of 2014 I blogged a sequence of posts relating how I was inspired by the Ranworth rood screen to create some silk scarves. Now is that time of year when I turn to looking at all those warmer, rich shades of autumn and feel the need to work with old gold and dusky damsons. Or, as Hilary Mantel so beautiful wrote “wearing theirfallen fruit silks of mulberry, gold and plum” when describing the gentlemen’s clothing at the Tudor court.
Looking at my recent photographs of another medieval rood screen this time in Suffolk, there is much to admire and inspire. Despite its age, over 500 years old, the screen at St Edmund’s, Southwold still has a wealth of medieval painted panels filled with faded colour and I have found plenty of inspiration.
Firstly, I decided to work with a delightful motif repeated on the cloak of the prophet, Isaiah. I copied the motif and worked up a whole scarf design on paper before using three templates to transfer the completed work to a square, flat crepe scarf.
This part of the process is surprisingly controlled to ensure I get balance and movement across the whole scarf. Next it is time to add the specific details, drawing lines and shapes using the gutta resist. This part is a little more loose and random as the resist flows freely and quite rapidly from the applicator pipette.
Finally, once the outlining is finished and has completely dried the softer and unfettered painting can begin. This is the first of my Edlyn Series of silk scarves inspired by the St Edmund’s rood screen.
There is something perennially charming about a jug of fading sunflowers. You can see why Vincent Van Gogh was so taken with them. Famously, he painted sunflowers many times including the seven ‘Sunflowers’ canvasses which were ‘nothing but sunflowers’.Of the original seven sunflower paintings, five are now in museums around the world, one was destroyed in a fire during World War Two and one, amazingly, is still in a private collection. These paintings have been frequently reproduced and used to decorate all kinds of merchandise. I recently spotted these Vans on the Internet.When I was younger I had a small print of this version below.
I copied these exuberant flowers onto a couple of metres of silk which I made into a top.
During the intervening 25 years, I, as well as the top have faded a wee bit, but here’s me earlier this year during the heatwave caught on camera mixing up some dyes wearing my old sunflower silk. It may have been very hot in Ipswich this summer, but nowhere the 45 degrees we had experienced in Egypt.