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!
It is hard to believe or maybe not, but it is about a year since all this Covid business began plaguing our lives. I am still amazed that during February last year I visited my daughter in London who had just returned from the French Alps! We travelled around on the buses and Tube, and then spent nearly three hours sat amongst a tightly packed, full-house to see Cyrano de Bergerac in a traditionally ‘cosy’ West End theatre. I am going hot and cold just writing about it.
A year on, another February and another Valentine’s Day, but this time it will be a first. It will be the first Valentine’s Day in the middle of a lockdown. Over 10 million folk in the UK have already been jabbed with one kind of vaccine or another and some lucky people have even had the two required doses. Even so, it won’t be a Valentine’s Day of restaurant visits or theatre treats. And, despite my father being fully vaccinated, there will be no birthday trips (he’s a Valentine’s baby) to the opera or even up the road for a concert at Snape Maltings. All closed.
As an alternative to those standard treats, I expect some people will turn to the Internet looking for a special gift. I have read in the British press and heard on the radio and television that the pandemic has accelerated the decline of many High Street stores as more and more of us have become familiar and comfortable shopping online. What is bad news for some is inevitable good news for others and I have definitely benefited with more visits and sales from my online business.
In fact this week I have just sent one of my scarves to Canada. I think receiving the gift of a silk scarf is a romantic gesture, but I am not sure how I’d feel about being given a silk face mask for Valentine’s though! Is that a maybe or a definite no? I am not sure.
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.
Every now and then I paint a scarf that is predominately pastel colours. This colourway of pastel greens and pastel blues is one such example.
Now, I know that responding to my expressive impulse to switch from my more usual strong colour palette to pastels, will, eventually, lead to frustration.
In my usual way I have kept a photographic record of the creative process, but it has turned out to be more tricky this time. As I have blogged in the past, light is everything and some colours and some colour combinations are strangely difficult to photograph accurately.
This has been distinctly noticeable with this specific pastel blue background. The ambient light was different on every occasion I photographed the progression of my work. Sometimes I had to take pictures in electric light which significantly changed the pastel blue. Each time I adjusted the white balance on my camera scrolling through the additional 17 settings (yes, that’s 17 slightly different versions) trying to find the closest to the reality in front of my eyes. My nearest choice, though not a perfect match, was always miles off from the first shot the camera offered on the automatic white balance setting.
Even using my powerful daylight bulb capturing this pale blue has been . . . well, virtually impossible.
Now you can see, above, the blue varies from a greeny blue, to a grey blue to an almost actual, full grey. As I have been typing I decided to have another go. I retrieved the scarf from my stock and tried again, but no joy (image below). As it turns out the most accurate representation had already been taken and it was the photo ‘Adding some background blue’.
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.
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.
This year at Blackthorpe Barn, as usual, the scarf that caught the attention of the casual passersby was not my favourite. You would think by now I would be used to the well known truth ‘to each their own’ – and so it was on this occasion the blue was popular and yet my favourite, the rich red, was not. I realise that this isn’t quite that simple as within different cultures, particularly where colour is concerned, some colours are more popular than others. For example, red is the most popular colour in China and is traditionally considered to bring good luck and success.
However, despite red being a Christmassy colour here in the UK, and, having several of my red scarves on display, it was this blue neckerchief that received the most appreciative comments, and sold first.
Perhaps it was the way I had displayed it draped across the source photograph of my homegrown flowers, clearing showing from where the colour inspiration had come. Perhaps this little detail intrigued people.
Also, it wasn’t as though it was the biggest one on display which naturally was another one of my favourites. This scarf of soft pastel pinks and lilacs on a parchment background only garnered a couple of appreciative comments and it didn’t sell.
After the weekend’s experience I would like to be able to conclude that I have a clearer idea of what my customers want to buy. However, each year the preferences are different. Fashion trends are ephemeral, and at the same time individuals have their own favourite colours and colours that suit them, and, in the end buying any clothing for oneself or as a gift is a matter of personal taste. And, what’s more no directive from the fashion police or Pantone ‘Colour of the Year’ folk will make somebody choose peach (Living Coral, 2019), or purple (Ultra Violet, 2018), or lime green (Greenery, 2017) if they don’t already like those colours.
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!
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.
Four or five times a year I prepare my latest work and head out into the Suffolk countryside for a photoshoot. You may remember in August I did just that making the most of the early morning light down by the River Orwell .
I usually take 250 to 300 photographs during the course of a shoot.
Now, not all pictures are attempts at capturing the essential ‘best’ photograph of model and scarf, some are simply capturing a moment.
Putting all the doggy fun aside, it’s not possible for me to know before I get back to my office if I have got the shots I actually need. Unlike professional photographers I don’t have a laptop with me on location to check pictures as the shoot progresses. And, looking on the tiny camera screen only gives a very vague indication as to the quality of any image.
Obviously, poorly framed, extremely over and under-exposed and grossly out of focus images can be immediately deleted, but it’s not possible to tell if any shot is pin sharp until I see it on my computer screen.
Finally, here’s a reasonable photo. However, it didn’t look like it on my camera screen, but thankfully it wasn’t deleted at first glance, made the cut and will probably be used on my shop at some point.